title: Genre transformation in the musical folklore (“Shamil’s Prayer” case)
metadata.name: dc.contributor.author
metadata.value: Sokolova, Alla N.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2019-06-26T17:17:48Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2019-06-26T17:17:48Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Sokolova, Alla. “Genre transformation in the musical folklore (“Shamil’s Prayer” case)”. Vestnik of Saint Petersburg University. Arts 9, no. 1 (2019): 30–45.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/ spbu15.2019.102
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/15780
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This article uses the Caucasian dance “Shamil’s Prayer” to examine the complex processes of genre transformation of folklore verbal and musical texts in the North Caucasus region. The dance was improvised by a Kumyk harmonist in the early twentieth century, based on the eyewitness account of the capture of Imam Shamil, and it spread widely in the Cossack environment and then throughout the USSR. Over the next hundred years, the dance sometimes included humorous and satirical verses, as a plot-theatrical composition in authenticity and on the stage of amateur art, as music for saber flanking, etc. Examining mechanisms oftransformation reveals that the musical text changes the genre marking: the dance turns into a song, the song turns into a prayer, and prayer becomes a hymn. In the content plan, the original historical hero turns either into an antihero, or is mocked. Avar Shamil is “replaced” by nameless Chechens and Circassians, and later by a Cossack. The change of the hero correlates with the genre characteristic of the music. The dance gradually turns into a comic song, then into a sparkling lezginka and, finally, into a Cossack hymn. The musical invariant of the song is separated from the original source and is contaminated with other well-known melodic themes. The objective reasons for the genre transformation lie in the dynamic sociocultural processes in southern Russia associated with local wars, the living functioning of the tradition using the adaptive techniques of folklore developed over the centuries. The sociocultural challenges of modern society in southern Russia are also associated with the need for Cossack consolidation and cultural revival.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 9; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Shamil’s prayer
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: dance
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: lezginka
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: genre transformation
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: hero
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: anti-hero
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: variant
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: invariant
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Genre transformation in the musical folklore (“Shamil’s Prayer” case)
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 4858-Текст статьи-9778-1-10-20190422.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/15780/1/4858-%d0%a2%d0%b5%d0%ba%d1%81%d1%82%20%d1%81%d1%82%d0%b0%d1%82%d1%8c%d0%b8-9778-1-10-20190422.pdf
resources.format: Adobe PDF
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