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Bashkir musical folklore. Working program "Bashkir folklore"

Bashkir musical folklore. Working program "Bashkir folklore"

29.06.2020

Ministry of Education of the Republic of Bashkortostan

Municipal government institution

"Department of Education of the Municipal District Yanaulsky District of the Republic of Bashkotostan"

Municipal budgetary educational institution lyceum of the city of Yanaul of the municipal district Yanaulsky district of the Republic of Bashkortostan

Research work

Bashkir folklore in mathematics lessons

nomination mathematician

Head: Kilina Elena Grigorievna,

Sovetskaya st., 25 apt. 62,

tel.89177437588

Introduction 3

Chapter 1 Theory

Folklore of the Bashkir people 4

Chapter 2 Practical part

2.1 Tasks of local history folklore 6

2.2 Results 8

Conclusion 9

Literature 10

Introduction

When I first crossed the threshold of the school, I was very excited about how I would study, whether I could overcome the fear of difficult tasks and questions. But our first teacher did everything to ensure that our class overcame all difficulties with ease. And it is a great merit that she associated many tasks with fairy tales, sayings, counting rhymes, proverbs. Now I am in the fifth grade and it became very interesting for me to study the influence of folklore on the development of mathematics, because in the middle school, learning new mathematical terms and we often associate them with folklore.

We live in the era of computers and an endless stream of various data. All these achievements are based on mathematics. Whatever science we look into, we will find mathematics everywhere. “Mathematics is the language that all exact sciences speak,” wrote the great Russian mathematician N.I. Lobachevsky.

The relevance of my work is that mathematics and the world around us are very interconnected. And the beauty of the mathematical language can be shown not only by solving complex mathematical problems, but also by tasks related to folklore. With the help of folklore, one can see the beauty of mathematical patterns that describe many processes and phenomena of the surrounding reality.

The purpose of my work: to study the themes and genre features of mathematical folklore based on Bashkir fairy tales, rhymes, proverbs.

Subject: means and genres of folklore that allow you to search for the most interesting forms of work.

To achieve this goal, you need to do the following tasks:

get to know the origins of folklore.

to study the features of the folklore form with mathematical content.

prepare a collection of tasks related to Bashkir folklore.

conduct a survey among 5th grade students.

Based on the purpose of the object and subject of the study, the hypothesis, which lies in the fact that in the course of the study, the process of forming the development of ingenuity, imagination, and creative thinking of students will be more effective and will allow, along with mathematics, to study the history and culture of their region.

At the first stage of the work, we got acquainted with the origins of the origin of the Bashkir folklore, studied the features of the folklore form with mathematical content. At the second stage, a collection of tasks related to the culture and history of Bashkortostan was created .

As a result of the work carried out, we were convinced of the correctness of our hypothesis. The result of the work is a collection of entertaining, logical examples and tasks related to the culture and history of our region, the author of which is me and my classmates, students of the mathematical class.

Chapter 1

Folklore of the Bashkir people.

The term "folklore" (translated as "folk wisdom") was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered everything spiritual (beliefs, dances, music, woodcarving, etc.), and sometimes material ( housing, clothing) culture of the people. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. From the beginning of the 20th century the term is also used in a narrower, more specific sense: verbal folk art.

Bashkir folklore is the oral folk art of the Bashkir people, represented by labor, ritual and everyday songs, fairy tales, legends. Bashkir folklore was created and transmitted orally by generations over the centuries. Its creators and bearers were folk singers and musicians, dancers, yyrau

The themes of Bashkir folklore were the views of the ancient Bashkirs on nature, moral ideals, their life and aspirations. Folklore was the source of their knowledge.

The peculiarities of folklore include its oral transmission, improvisation and collective performance, and multivariance.

The genres of Bashkir folklore are fairy tale, epic, kulyamas, fable, lakap, fable, kulyamas-mystery, tiresome fairy tale, satire, parable, saying, proverb, riddle, nasihat, etc.

According to the involvement in the social and everyday activities of people, Bashkir folklore is divided into ritual, children's, song, dance, local history, etc.

The Bashkirs have a rich song folklore. Dance, comic, game songs accompanied the festivities and entertainment. Distribution received a ditty, baits. Small genres of folklore are widespread, which belong to children's folklore, such as incantations, sentences, riddles, proverbs, sayings, signs, fairy tales.

Local lore - a complete study of a certain part of the country, city or village, other settlements. Such a study, as a rule, is carried out by scientists who are limited to this region (archivists, architects, biologists, military, geographers, historians, ecologists, ethnographers), as well as enthusiasts from the local population. Scientific local history in Bashkortostan was born, as well as in Russia as a whole, only in the 30s of the XVIII century. Therefore, in ancient times, the Bashkirs passed many interesting facts about their land from mouth to mouth, in the form of fairy tales, legends, myths.

Folklore dance is a genre that vividly preserves ethnic symbols, informativeness and national recognition.

Dance is an art form in which an artistic image is created through rhythmic plastic movements and a change in the expressive positions of the human body.It is impossible to create a beautiful dance without graphs of mathematical functions. A beautiful dance is a beautiful graph that can be written with a mathematical formula. Movements are plane changes that preserve the size and shape of objects. Examples of movements are symmetry, parallel translation and rotation. Such geometric movements take place in many Bashkir dance performances.

Symmetry in dance consists of: the use of figures in the dance pattern that have a center or axis of symmetry, a balanced arrangement of the dancer's body, the location of the dancers in space, the simultaneous performance of the same movement by the dancers.

Symmetry allows you to make the dance pattern beautiful and synchronous, helps to create a harmonious design of the space. Dance can be seen as the creation of patterns in space, including those consisting of geometric shapes. The pattern of the dance is the location and movement of the dancers on the stage. The pattern of the dance depends on the idea of the performance, its idea, musical material, rhythm, tempo, and the national identity of the dance.

In the modern choreographic folklore of the Bashkir people, dance forms dating back to ancient times are preserved (photo 1, Appendix 3). Some of them are a circle in movements and a circular dance (tүңәrәk). The circle is an action characteristic of antiquity, which has the magic of healing, protection, the meaning of a way to control natural elements. In the magical rites of the Bashkirs, the protective meaning of the circle is laid down (they outline the lodging in the field for the night, the first thunder is met by making round trips around the house, barn, etc.). The ideas of preservation, acquisition, multiplication of strength and vitality are carried out in circle actions: the wrestler kuresh (bid of wrestling), pronouncing good wishes, encircles the camp in three layers, bypassing it; the same action is performed when seeing off a warrior to battle or a bride from her father's house.

It has been proven that dancing has a beneficial effect on the mental abilities of a person. During the dance, you must constantly think, think about each type of movement, order, rhythm. Linking the elements of the dance, we build logical chains. Spatial imagination develops. Dancing is a good way to train the intellect!

Mathematics and the world around us are very interconnected. And the beauty of the mathematical language can be shown not only by solving complex mathematical problems, but also by tasks related to folklore. With the help of folklore, one can see the beauty of mathematical patterns that describe many processes and phenomena of the surrounding reality.

Folklore material also has great potential for the development of mathematical abilities. Tasks offered in folklore forms often require non-standard solutions. This makes children compare, analyze, reason. Thus, ingenuity, imagination, creative thinking develop.

Chapter 2. Practical part

2.1 Tasks of local lore folklore

The tasks of local lore folklore are of great importance. Learning math doesn't have to be boring. You can get interested by solving problems that reflect facts and interesting information about your region.

Task1. There are about 3840 rivers and lakes in Bashkiria. Rivers make up from this amount. How many rivers and lakes are there in Bashkortostan?

Answer: 1120 rivers.

Task2. The highest point of the Republic of Bashkortostan is Mount Yamantau. Its height is 1638m. And the lowest point is located in the mouth of the Belaya River and in

26 times below Mount Yamantau. What is the height above sea level of the lowest point.

The answer is 62 meters above sea level.

Task3. Write down the numbers in the text:

The area of the Republic of Bashkortostan is one hundred and forty three thousand six hundred square meters. km. In the north it borders on the Perm and Sverdlovsk regions, in the east - on the Chelyabinsk region, in the southeast, south and southwest - on the Orenburg region, in the west - on the Republic of Tatarstan, in the northwest - on the Udmurt Republic. The population of the republic is four million one hundred four thousand three hundred and thirty six people. There are eighteen cities in Bashkortostan.

The territory of Bashkortostan is included within four geographical zones of the temperate zone: mixed forests, broad-leaved forests, forest-steppe and steppe zones. Forests cover more than one third of the republic's territory. Seventy-three percent of the steppe and thirty-one percent of the forest-steppe zone is occupied by black soil. There are more than thirteen thousand rivers and two point seven thousand lakes, ponds and reservoirs in the republic.

Task4 . The area of the Republic of Bashkortostan is 143600 . The total area of the capital of Bashkortostan, Ufa, is about 707 . Determine how many times the area of Ufa is less than the area of Bashkortostan.

Answer: 203 times

Task5. The monument to Salavat Yulaev is the largest equestrian statue in Russia, 5.6 meters taller than the monument to Alexander Matrosov, a 19-year-old soldier who shielded a German machine gun with his body. Find the height of the monument to Salavat Yulaev and the height of the monument to Alexander Matrosov if their total height is 14 m.

Answer: 9.8 m and 4.2 m

Task6 . The length of Kueshta Cave, the largest gypsum cave in the Southern Urals, is about the length of the Kapova Cave, famous for ancient wall paintings of mammoths, rhinos, wild horses. Find the length of Cueshta Cave if the length of Kapova Cave is about 3047 m.

Answer: 554 m

Task7 The length of the territory of Bashkortostan from west to east is 80 km less than from north to south. Find the length of the republic from west to east, if from north to south is 550 km. Write your answer in meters.

Answer: 470000 m

Task8. A truck left Ufa for Yanaul at the same time at a speed of 73 km/h and a passenger car at a speed of 109.5 km/h. How many kilometers will the truck be behind the car 1 hour after the start of movement? After what time will the cars be in Yanaul if the distance between cities is about 219 km?

Answer: 36.5 km, truck in 3 hours, passenger car in 2 hours.

Task9. Bashkir honey has no analogues in the world in terms of its healing and taste qualities, as well as the unique composition of microelements. So linden honey contains 36.05% glucose and 39.25% fructose. How many grams of glucose and fructose are contained in a 3 liter jar of honey if 1 liter of honey weighs 1 kg 440 grams.

Answer: 1557.36 g of glucose, 16 95.6 g of fructose

Task 10. At the national holiday "Sabantuy" one of the horses ran two laps at the horse races. One circle is 1600 meters. The second horse ran a lap and a half. How many meters more did the first horse run than the second?

Answer: 800 meters.

Task 11. Kurai- national Bashkir, similar to. To hooray is made from the stem of the umbrella plant Rebroplodnik Ural, has 4 playing holes on the front side and one on the back. Kurai made by grasping the stem with hands alternately, measuring from 8 to 10 times the width of the palm, then cut. Holes are cut starting from the bottom: the first - at a distance of 4 fingers, the next three - at a distance of 2 fingers, the last, 5th - on the reverse side, at a distance of 3 fingers from the 4th hole. At what distance will the 5th hole be located if the width of the palm of four fingers is 8 cm, and all fingers are the same width.

Answer: 26 cm

2.2 Results

In the course of the research work, we compiled a collection of tasks that we proposed for solving in the 5th grade, in order to find out how much the tasks proposed in this form would interest my peers. The survey was conducted among 108 students (photo2, photo3 appendix 3).

We presented the results in the form of a diagram (Fig. 1, Appendix 3), which clearly shows that the students liked to solve problems, they showed interest, and even if there was no correct solution, they were attracted by the content of the problems.

When asked why they liked the tasks from the collection, the most common answer was: they learned interesting facts about our Bashkortostan.

My classmates in math class like to solve different problems. But I think that the use of problems related to the history and culture of one's region will not only improve the skills of solving text problems, but also help to broaden the horizons of students, instill interest in mathematics and love for their region. The ability to solve problems will help to achieve good results in various intellectual competitions.

Conclusion

Once upon a time, a big prize was announced to the one who writes a book on the topic “How did a person live without mathematics?”

No one has received the award. There was no such person who could write such a book. People from time immemorial have used mathematical knowledge, we sometimes do not realize how important they play in our lives.

Mathematics has a unique developmental effect. Its study contributes to the development of memory, speech, imagination, emotions; forms perseverance, patience, creative potential of the individual.

Organized work on the development of mathematical abilities, including various genres of folklore, will help to increase the level of development of mathematical abilities.

We offered these tasks to students of the 5th grade (5a, 5b, 5c, 5d) for solving, then a survey was conducted.

The results of the survey showed that many students were interested in solving problems related to the history, culture, geography of their region. Such tasks are solved with great interest and curiosity. Many facts became known that they did not pay due attention to at the lessons of the IKB and the history of Bashkortostan.

As a result of the work carried out, we were convinced of the correctness of our hypothesis. The result of the work is a collection of entertaining, logical examples and tasks related to the culture and history of our region, the author of which are me and my classmates, students of the mathematical class.

Thus, our study confirms the possibility and necessity of using such tasks, legends and myths as a means of developing mental operations and spiritual culture in middle-level children.

Literature

Bashkir children's folklore / ed.-comp. A.M. Suleimanova, I.G. Galyautdinov.

The origin of the Bashkir people / ed. Kuzeev R.G.

School Mathematical Olympiads 5-11 cells / ed. Farkov A.V.

infourok.ru

videouroki.net

Sokrarmira.ru

Attachment 1

Questionnaire

What grade are you in? (class lit.)

Do you like the subject of mathematics?

Are you interested in solving text problems proposed in a textbook or a teacher?

Did you like the tasks proposed in the collection (if so, how)

Would you like to see more such tasks, why?

Application2

problem book

Annex 3

Bulletin of the Chelyabinsk State University. 2014. No. 26 (355). Philology. Art history. Issue. 93. S. 108-114.

MAGIC FOLKLORE OF THE BASHKIRS: SPECIFICITY AND MYTHORITUAL FEATURES OF THE REPERTOIRE

The place and functions of magical folklore genres in the system of traditional culture are considered; study history. The main semantic, functional, mythological features of such ancient genres as harnau, arbau, calf, etc. are revealed, the most universal method of analysis is proposed, which allows revealing the most ancient layers of consciousness and worldview of ancestors.

Key words: magical folklore, incantations, incantations, sentences, shaman, bucks, complexity, syncretism, myth, rite.

The art of folk literature is entirely based on magical beliefs in the power and power of the word. The man of antiquity knew and appreciated the measure, the time, the possibilities of the special potentials of this code, which he resorted to, deeply believing that to say is to do. The word was the main instrument of all life, including receiving, protecting health, as well as achieving good luck and developing creative talents. The magic of the word acquired artistic functions in the epic, fairy tales, legends, songs, legends, proverbs, baits, munajats, responding to the aesthetic, spiritual needs of the people. Having practical purposes, special functions and purposes of influence, words form a conspiratorial and incantatory repertoire of appeals as sacred ways of contacting deities, supernatural forces and the elements of Nature. The creators and transmitters of this secret knowledge to generations were especially gifted, with extraordinary abilities to master the Word, action, chants, body movements and the system of ancient teachings, the chosen ones, that is, shamans, among the Bashkirs - bucks, as well as among the Kazakhs, Kyrgyz, Turkmens1. Created over centuries of service to fellow tribesmen, the unique art of Baksy provides for a syncretic unity of mythological, cult, totemic ideas about time, place, space, as well as a clear logic of cause-and-effect guidelines and practical goals for achieving the desired result. Against this background, the main purpose of the Bashkir baksy is revealed - establishing contacts with higher, heavenly forces, propitiating deities, whose patronage contributes to the healing of the sick, favorable

changes in the weather, the expulsion of the spirit of misfortune and the invocation of the forces of good. In the system of similar traditions (Siberian, Turkic-Mongolian shamanism), the Bashkir institute of baksy, as the analysis of materials shows, is distinguished by a pronounced rational and intellectual beginning, the dominant of nature-worshipping motives, the degree and proportionality of actions and words.

Genres of folk art, based on the sacralization of words, body movements, elements, objects, as well as the targeted use of mythological, supernatural knowledge, aimed at ensuring the well-being and protection of the physiological, spiritual forces of the ethnos, represent magical folklore. In a broad sense, the magical beginning is contained in all genres of folklore, because the creation of myths, holidays, rituals, fairy tales, epics, and so on. provides for the influence on the will of the deities, the forces of Nature, the propitiation of the spirits of ancestors, batyrs (demiurges) and the acquisition of prosperity. The process of transferring ancient knowledge as generic values had its own strict standards and regulations. So, telling fairy tales (ekiet), karhYZ (myth, epic among the Bashkirs) during the day or summer provokes a very cold and protracted winter (Beloretsky district, Zuyak village), is fraught with the wrath of powerful spirits, severe drought (Khaibullinsky district, from Akyar; Beloretsky district of the village of Birdigulovo), incorrect performance of the ceremony (yola) - prolonged rains up to floods or epizootics (Abzelilovsky district, village of Askarovo; Kugarchinsky district, village of Khudaiberdino). Verbalized myth and ritual, by their being, act as proto-forms of regulation of life events, health and art. At one time, by telling the karkhyza-myth "Ural-batyr", they treated seizures (ennengen) who had lost their minds.

dock or exhausted (Recorded in Askinsky, Beloretsky, Zianchurinsky districts), etc. Thus, magic and magic are present in all models of folk knowledge, forms of creativity and etiquette due to the factors of time invested in them, centuries-old continuous cultural tradition and powerful intellectual generational potential.

Magical folklore in its narrow, “specialized” sense is represented by genres and genre forms that are functionally related to their intended use in rituals, healing, sacral acts. For example, in a state of deep stress, speechless women were taken out into the field and beaten on the cheeks, forcing them to scream, pronouncing special words, making body movements (Zianchurinsky district, 1998); the evil eye, snake bite, damage, etc., were spoken in a recitative-singing word. This fund of archaic knowledge, having disowned ritual complexes, has been preserved in time and practice of use due to the formulaic nature of word forms and thought forms, the long need for practical application and the continuity of the creativity of folk professionals - healers, seers, bucks. This repertoire includes prose and verse incantations (arbau), invocations (satafiu) of rain, wind, kut, sun, etc., harnau (appeal to the spirits of ancestors, forces of Nature, deities). Sentences (atemse), sayings (atem), omens (yrym), interpretations of dreams and events, divination-khynau (by bones, stars, stones) are a special part of magical folklore, methods of folk treatment (im-tom), mainly functioning in the unity of words. , action and tunes. The nature and intentions of these forms of creativity can be deciphered only with an integrated and multidisciplinary approach, when purely philological or ethnographic or anthropological aspects of study, in addition to descriptive ones, cannot provide objective scientific generalizations.

The classical forms of performance of the incantatory repertoire combine myth + word + action + partly chant; each of the components is associated with archaic realities that determined the features of functions, vocabulary, and methods of sending. For a tumor plot, for example, a number of conditions must be met: a chicken egg, necessary for treatment, must be laid on Wednesday, water taken before dawn on a waning moon,

the patient is dressed in old clothes, come to the “sessions” hungry, before and after not telling anyone about the purpose (the results of healing, all the more) of his visit. Manipulations with objects operate in the complex, projecting the bright associative, world-contemplative thinking of healers: the disease is “transferred” to an even number of unnecessary things, such as: a broken comb, a needle, fallen hair, nails, broken glass, rusty nails, etc .; throwing the disease somewhere at a crossroads, they leave without looking back and throwing seven (nine according to the severity of the disease) rods across the road, first consecrating them with a prayer - this is how an invisible border is laid between this world and the other. Knowledge about the spirit is noteworthy: for example, parts of the body (nails, hair, etc.), which are the guardians of the partial soul, “take away” diseases with them, and the deadly symbolism of broken things provokes, according to the logic of magic of similarity, the same effect; Wednesday in folk beliefs is considered an auspicious day for healing acts. The semantic world of medical culture, thus, absorbs the most ancient knowledge, realities, which have gained effective experience over the course of centuries of practice. Algysh (good wishes) and kargysh (curse) have a conspiracy character, in the origins providing for the functions of a special effect of the magic of the word, as well as the subordination and invocation of good (algysh) or evil (kargysh) forces. Telek (calf) as a good wish is co-semantic with algysh with the difference that the condition for pronunciation te-lyak in the past was associated with sacrifices and even replaced it. The northeastern, eastern Bashkirs still retain the custom of "calf salyu".

The ideological concept of imperative appeals of all forms (conspiracies, spells, algysh, etc.) goes back to the notion of the existence of a “master” of spheres, diseases, natural elements, and so on. Eie (master, owner) among the Bashkirs is consonant, co-semantic with the Altai, Kalmyk "ezi", Buryat "ezhin", Yakut "ichchi"2. Success in achieving the goal (conspiracy of illness, fishing, hunting, animal spells, invocations of the elements, etc.) depends on the ability and art of appeasing the "owners" and establishing "treaties" with them that require special sacrifices and the correct use of objects, actions, words with taking into account tribal and local traditions.

Algysh - texts of magical purpose, pronounced in a spell form, ascend

are related to the ancient Turkic ata “to bless”3 and are aimed at increasing productive forces, removing fear and solving certain problems.

The ideological and functional concepts of useful magic are predetermined by the depth of knowledge, the level of natural or hereditary talent, the ability of a person to get involved in the movements of the world, to arouse the patronage of deities. In appeals to the heavenly Tengri, the master spirits of forests, fields, rivers, the four elements - water, fire, earth, air - and in wishes, the magic of the expensive word is used. In sowing work, algysh is pronounced - good wishes, the harvest is called:

Er! Er! Er! Earth! Earth! Earth!

Kesets bir! Give me strength!

Altmysh arba arpa bir, Give me sixty carts of barley,

Etmesh arba eten bir, Give seventy carts of flax,

Bir! Bir! Give! Give!

Algyshes, the same in design and different in function, contain good wishes, requests for assistance in successful hunting, travel, fishing, etc. (pronounced before the road, work, marriage). However, in algysh, unlike arbau, harnau does not have an appeal to deities, spirits of diseases and a desire to subordinate to one's will. As in the Yakut, Kazakh algys, Evenki alga4, good wishes are poeticized in the Bashkir algysh, the lack of hyperbolization and idealization, the image of the result (Donyats matur bullyn! Kotlo bulyn yortots!), is common.

Creativity associated with the magic of the word permeates the entire life of the Bashkir, whose basic principles of life science from time immemorial have been associated with the worship of wildlife, the spiritualization of unearthly and earthly spheres. Hence the diversity of verbal and poetic creativity, which goes back to the sacralization of words, actions, and also sound. Pronounced in a certain time, space and place in order to obtain the desired results and propitiate higher powers, created with the participation of the creativity of a special kind of person, baksy (imse, nynsy, arbausy), the works were formed as cultural texts of a magical purpose. The origins of creation and functioning go back to the deep antiquity of traditions, in the center of which there is a baksy (shaman) and his talent and destiny.

The genres of magical folklore of the Bashkirs (conspiracies, spells) became the object of scientific attention in the 19th century. The writings of A. Inan describe conspiracies of snakes and birds of prey5. Classifying these genres of Bashkir folk art, one of the first folklorists G. Vildanov refers them to “im-tom” (folk treatment) and “yshanyu” (beliefs), gives samples of conspiracies of diseases of the auricles (tatras), mentions the invocation of a cat (well-being ) and treatment of tremors (eisen)6.

The variety of illnesses, illnesses, troubles that occur or the need to regulate labor and life concerns determine the multi-component repertoire of incantations, invocations, wishes, which predetermined their systematization in the context of ritual folklore7. Magical folklore is traditionally classified according to the functional characteristics and forms of diseases (conspiracies of a snake, dog, evil eye, fever, etc.), the need to restore health (to care for a child in the absence of speech, walking, illness, and so on), settling labor and household worries. In the greatest systemic, completeness of descriptions of a diverse repertoire, conspiracies are presented in the work of F. G. Khisamitdinova “Bashkorttarzshch im-tom kitaba” (“The Book of Bashkir Conspiracies”)8. Magical folklore associated with traditional health care is divided into two large parts: 1) incantations of childhood illnesses; 2) conspiracies of diseases of adults. An intra-genre division is made according to the types of diseases (conspiracies of heart, bone, skin ailments; conspiracies associated with the influence of the machinations of unclean forces). In studies that fragmentarily cover the issues of magical folklore, the place and reflection of charms in fairy tales9, prohibitions10, as well as the features of existence in time and preservation in folklore memory11 are noted.

The scientific and theoretical aspect of studying and highlighting the specifics of the charm repertoire is found in the numerous works of folklorists, linguists, ethnographers, according to the profiles of science, revealing the features of a complex type of traditional culture. A classification of incantations according to their functional orientation is given, covering the worldview basis, the place in the system of genres and their main properties are determined as the unity of words and actions, the rhythm of stanzas, appeal to higher powers, the spirits of ancestors12. Under-

the approaches to the classification, systematization of the genre are basically the same, lexical, thematic-structural13, cult-mythological14 features are revealed from different points of view. The vocabulary of healing magic is read in the aspect of the practical system of specific knowledge of ancestors in physiology, anatomy and means of healing15. In the context of shamanistic, ritual complexes, the ancient origins, functions, semantics are investigated, the features of the mythopoetics of conspiracies are revealed16. Some poetic-stylistic, functional-thematic features of incantations, forms of creativity of baksy (shamans)17 have been studied, the principles and basic motivations, functional features of magical texts18 have been revealed. In the numerous works of the ethnographer Z. I. Minibayeva, who has purposefully studied this problem for many years, the system of this knowledge is restored from the perspective of a complex historical, ethnographic, typological characteristic of the activities of healers, traditional medicine is reconstructed as the original school of health care. On a large factual material, such problems as folk medical terminology, types of healing (pulse diagnostics, bath, herbal, water therapy) are widely covered, the most complete verbal-actional descriptions of diseases and methods of treatment in their regional, attributive specificity are given19.

A brief digression shows that a comprehensive study of magical folklore in the relationship and syncretic unity of anthropological, ethnographic, linguofol-cloristic systems, covering the ritual integrity and specifics of the architectonics of healing acts, has not yet been done. Because the incantatory repertoire is the most complex code of knowledge, the objective disclosure of the intention of which is impossible from a purely philological or ethnographic point of view. The modern folklore approach provides for complexity, when no component is studied in isolation from another or only from one (lexicological, ethnographic, choreological) point of view. This method allows you to fully and comprehensively reveal the spiritual, intellectual potentials and reasonable knowledge of ancestors encoded in texts, not only in physiology, psychology and anatomy of a person, but also ideas about time, space, place and living Nature as a whole.

The main symbol in deciphering sacred code texts and ideas is the Word. In the light of Nostratic origins, the deep archaism of the arbau (conspiracy) genre, the main genre in magical folklore, “goes back to the general and main meaning of “conjure””20 is noteworthy. The functional orientation of arbau in Altaic, Indo-European, Uralic languages is associated with the idea of magical influence, has the goal of “planning evil against someone, being in an ambush, using magical powers”21. In this context, the main feature of the conspiracy that distinguishes it from other genres of magical folklore is manifested - a strong-willed psychotropic influence on the object, the exclusion of evil by appeasing spirit patrons and attracting special secret knowledge and exceptional words.

A conspiracy is a Bashkir arbau, a ritual and magical text created in the process of centuries-old creativity in order to suppress the will of someone and subdue, change the course of events, activated by the direct presence of an object or at a distance. There are healing, love, household, labor, hunting and other conspiracies. Arbau is a sacred ritual act with the participation of a variety of functional components acting in unity and reveals similarities with harnau - archaic forms of appeals to the spirits of ancestors, Nature and connecting the word, action, chant. Unlike arbau, aimed at weakening the will and influence of hostile, disease-causing, also invisible and visible forces, harnau has, in addition, an appeal to the spirits of ancestors, natural forces. "Sarn" in the Turkic sphere means the song of a shaman, incantations of corruption, snakes, calls of the wind22 and is consonant with the Bashkir harnau, carrying out the ideas of the similarity of the genre. The structures of text construction in Arbau and Harnau are close, therefore there are equally functional key points expressed verbally.

The traditional structure and architectonics of arbau, all incantations (partly incantations) are presented as follows: 1. Appeal to the helper-spirit and calling by name: “Hey spirit! Water Spirit! Or: “Korkot ata! Help!" 2. Providing information about yourself (bucks declares his personality, capabilities): “I swam across the Irtysh! I swam Idel!” or “You are a snake, stronger than you I am a snake!” 3. The will of the reasons that forced us to turn to God

stvam or description of the disease. “From that (name) person, the soul flew away” or “There is an evil eye on that (name). We need to treat him." 4. Request and a specific description of the purpose of the appeal: “Return Kut! Bring back the strength! or “Cure the hernia!”, “Drive away the Tatrana”. 5. Volitional influence in order to chase the evil: “Where did you come from - go there!”, “Who sent it - return to that!” 6. The expected result is given as a fait accompli: “Healed, healed!”, “Out, ran away, ran away! Disappeared in the field, drowned in the water. 7. The final word “It was not I who healed - Allah” and gratitude to the spirits, the elements, “You - a handkerchief, I have health!”. In such a structure, the arbau is mainly built, as well as all conspiracies, varying depending on the goals of the act and the completeness of the healer's knowledge. Most of the conspiracies already exist in a truncated form, because due to the weakening of beliefs in spirits, the magic of the word (body movements, breathing, objects, etc.), conspiracy acts fall out of practice or experience the introduction of Islamic elements. So, the formulas for addressing spirits, deities are replaced by the request-reception of the blessing of Allah for medical, healing procedures. “O Allah, with your knowledge and permission, I begin treatment (Ye, Allam, Hinets rizalygshdan im item)”; “Man-cause, You are a healer, help me! (Bende-sebepse, Alla-sihetse! Yar-am um!)” (Author’s notes in the Khaibullinsky, Zianchurinsky, Yanaulsky districts of the Republic of Belarus). In the texts there are no appeals to the patrons of the family and often Islamic saints act. Very rare in conspiracies are the motives of "acquaintance" with imse and presenting oneself, one's capabilities. The idea of sacrifice fits into short phrases, such as "You - a handkerchief, I - health!". The discourses of magical praise (lure) of the object being spoken have been reduced (“A flowing river is faster than a snake!”), or they are completely absent. Such features mark the activities and characteristics of the work of rural healers imse, arbausy, which are still in almost every locality.

"Professional" healers now follow the rules of healing magic: tell the patient the time, place of treatment and the rules (come hungry, do not eat meat for 3 days, etc.): adhere to the necessary etiquette, ask for help from the "owners" of water, fire, earthly soil, observe the avoidance of everyday conversation, seek help from Allah, the patrons of the family, improvise functional recitations in accordance with folk

our traditions. Scolding the disease ends with the words of expelling evil forces, and at the end of the session, they thank the Almighty and, receiving khair, dedicate it to the will of Allah, asking for the benefits of treatment. According to the informants, “The ancient man spoke everything that had a soul. But not everyone is given this gift-craft. Only bucks could do this” (village Yumash, Baimaksky district A. Barlybaev, born in 1914, Zap. 1993). “There used to be mighty bucks. Here they shook the world! The words were sometimes incomprehensible and with melodies and tunes, they jumped, danced! (village of Lagerevo, Salavatsky district, 1994). Bashkir baksy (ba "kshi, bagyusy, bagymsy) - shamans are the creators of harnau and arbau, they possessed remarkable willpower, voice, extraordinary abilities bestowed on them by inheritance. (Due to the limited volume of the article, these testimonies, collected by the author over many years, are mentioned only fragmentarily). performed baksy are imprinted in the repertoire of magical folklore: these are incantations of animals, snakes, invocations of the Sun, rainbow, rain, etc. With the disclosure and decoding of the semantic world of this code repertoire, the acquisition of the most complete and objective evidence of archaic realities, causal connections and artifacts that have long been lost in other cultural texts.

Notes

1 Tokarev, S. A. Early forms of religion and their development. M., 1964.

2 Folklore of the Mongolian peoples. M., 2011. 204 p.

3 Comparative dictionary of the Tungus-Manchurian languages / otv. ed. V. I. Tsintsius. T. 1. L., 1975.

4 Ertyukov, V. I. The era of paleo-metals in the North-East Arctic and its role in the genesis of the small peoples of the North // Languages, culture and future of the peoples of the Arctic. Yakutsk, 1993. S.82-84.

5 Inan, A. Shamanism Tarikhta hem begen. Ufa, 1998. 210 p.

6 Vildanov, F. Terek halyktarynyts donyaga borongo dini karashi // Bashkort aimagy. 1926. No. 2. B. 27-38 (ger. gr.).

7 Bashkort Halyk Izhadi. Yola folklore / Tez., bash hYZ, atzlatmalar aut-ry. E. M. Seleymenov, R. E. Soltangereeva. Efe, 1995.223 b.

8 Khisamitdinova, F. G. Bashkorttardyts named after kitaba. Efe, 2006.

9 Khusainova, G. G. Modern folklore of the northern Bashkirs // Expedition materialdary - 2006: Buraevsky district. Ufa, 2008. 239 p.

10 Gaysina, F. F. Prohibitions as a folklore genre in the traditional culture of the Bashkirs: auto-ref. dis. ... cand. philol. Sciences. Kazan, 2013. 27 p.

11 Yuldybayeva, G. V. Khezerge bashkort halyk izhadynda im-tom // Bashkort folklorynts khezerge torosho. Efe, 2012. S. 156-163.

12 Galin, S. A. Bashkir folk epic. Ufa, 2004. 320 p.

13 Iskhakova, G. G. Rhythm as the main principle of the organization of the incantation text // Uralbatyr and the spiritual heritage of the peoples of the world. Ufa, 2011. S. 203-204.

14 Khusainov, G. B. Ancient Bashkir written monuments // History of Bashkir literature. Ufa, 1990. Vol. 1 (in Bashk.).

15 Karimova, R. N. Halyktyts donyaga karashyn kyrheteyse syganak bularak halyk medicine vocabulary // Ural-batyr and the spiritual heritage of the peoples of the world. Ufa, 2011. S. 208-210.

16 See: Sultangareeva, R. A. 1) Ritual folklore as a subject of reconstruction of the personality, functions and creativity of bagymsy. Ufa, 1999. S. 84-107; 2) Arbauzar // Bashkir folklore. Research and materials. V issue. Ufa, 2004. S. 199-215.

17 Baimov, B. S. Baksy's creativity // Shonkar, 1993. No. 1. P. 28. (in Bashk.)

18 Seleymenov, E.M. Bashkort halkynyts im-tom hem mezzeti yola folklore // Bashkir folklore. Research and materials. Ufa, 1995.

19 Minibaeva, ZI Islam and demonological ideas about diseases in folk medicine of the Bashkirs (on the material of the Kurgan region) // Ethnogenesis. Story. Culture. Ufa, 2011, pp. 162-168; Healing charms in folk medicine of the Kurgan Bashkirs and Altai peoples // Ural-Altai: through the centuries into the future. Ufa, 2008, pp. 149-153.

20 Nafikov, Sh. V. Tamyrs ugata borongo bashkort. Mekeleler yyyntygy. Efe, 2009. 418 b.

21 Dolgopolskiy, A. B. Nostratik dictionariy. Cambridqe, 2008.

22 Abylkasymov, B. Sh. Zhauyn Shakyru // Proceedings of the Academy of Sciences of the Republic of Kazakhstan (Kazakhstan). Philology. 1992. No. 3. S. 50-54.

1 Tokarev, S. A. (1964) Early forms of religion and their development, Moskow. (in Russ.).

2 Fol "klor mongol" skih narodov (2011) [= Folklore of the Mongolian people], Moskow, 204 p. (in Russ.).

3 Sravnitel"nyj slovar" tungusko-manchzhurskih jazykov (1975) [=Comparative dictionary Tungus-Manchzhur], Volume 1, Leningrad. (in Russ.).

4 Jertjukov, V. I. (1993) "Jepoha paleometallov v Severo-Vostochnoj Arktike i ejo rol" v genez-ise malochislennyh narodov Severa" [=Epokh of paleometall in the Northeast Arctic and its role in genesis of small peoples of the North], in : Jazyki, kul "tura i budushhee narodov Arktiki ^Languages, culture and the future of the people of the Arctic], Jakutsk, pp. 82-84. (in Russ.).

5 Inan, A. (1998) Shamanizm tarihta ham begen, Ufa, 210 p. (in Bashk.).

6 Vildanov, F. (1926) Terekhalyxtaryny ^ don "jaza boronzo dini xarashy, in: BashKort ajmary, No. 2, pp. 27-38 (geg. gr.) (in Bashk.).

7 Bashxort halyx izhady. Jola fol "klory. (1995), efe, 23 p. (in Bashk.).

8 Hisamitdinova, F. G. (2006) Bashxorttar^yö im-tom kitaby, efe. (in Bashk.).

9 Husainova, G. G. (2008) "Sovremennyj fol"klor severnyh bashkir" [=Modern folklore of northern Bashkirs], in Jekspedicija materialdary - 2006: Buraevskij rajon [=Materials of the expedition], Ufa, 239 p. (in Russ.) .

10 Gajsina, F. F. (2013) Zaprety kak fol "klornyj zhanr v tradicionnoj kul" ture bashkir [= Ban as a folklore genre in traditional culture the Bashkir], Kazan", 27 p. (in Russ.).

11 Juldybaeva, G. V. (2012) "No. 3erge bashKort halyK izhadynda im-tom", in BashKort fol "klorynyq hezerge torosho, efe, pp. 156-163 (in Bashk.).

12 Galin, S. A. Bashkirskij narodnyj jepos [=Bash-kirsky national epos], Ufa, 2004. 320 p. (in Russ.).

13 Ishakova, G. G. (2011) "Ritm kak osnovnoj princip organizacii zagovornogo teksta" [=A rhythm as the basic principle of the organization of the zagovorny text], in: Ural- batyr i duhovnoe nasledie narodov mira [=Urals - the batyr and spiritual heritage of people of the world], Ufa, pp. 203-204. (in Russ.).

14 Husainov, G. B. (1990) "Drevnie bashkirskie pis" mennye pamjatniki" [=Ancient Bashkir written monuments], in: Istorija bashkirskoj literatury [=History of the Bashkir literature], Ufa, Volume 1 (in Russ.).

15 Karimova, R. N. (2011) "Halyxtyq donjara ■Karashyn kyrhateYse syrana^ bulara^ halyK medicinahy leksikahy", in: Ural-batyr i duhovnoe nasledie narodov mira [=Ural-batyr and spiritual heritage of the peoples of the world], Ufa. pp. 208-210. (in Bashk.).

16 Sm.: Sultangareeva, R. A. (1999) Obrjadovyj fol "klor kakpredmet rekonstrukcii lichnosti, funk-cij i tvorchestva bagymsy [= Ceremonial folklore as subject of reconstruction of the personality, functions and creativity of a bagymsa], Ufa, pp. 84107; Sultangareeva, R. A. (2004) "Arbaugar", in: Bashkirskij fol "klor. Issledovanija i materialy [=Bashkir folklore. Researches and materials], Issue 5, Ufa, pp. 199-215 (in Russ.).

17 Baimov, B. S. (1993) "Tvorchestvo baksy", in: Shonkar, no. 1. p. 28 (in Russ.).

18 Selajmanov, 3. M. (1995) "BashKort halxynyq im-tom ham mejjati jola fol"klory" // Bashkirskij

fol "klor. Issledovanija i materialy [= Bashkir folklore. Researches and materials], Ufa. (in Bashk.).

19 Minibaeva, Z. I. (2011) "Islam i demono-logicheskie predstavlenija o boleznjah v narodnoj medicine bashkir (na materiale Kurganskoj oblas-ti)" [=Islam and demonological ideas of diseases in traditional medicine the Bashkir (on material of the Kurgan region) ], in: Jetnogenesis. history. Kul "tura [= Ethnogenesis. History. Culture], Ufa, S. 162-168; Minibaeva, Z. I. (2008) Lechebnye zagovory v narodnoj medicine kurganskih bashkir i altajskih narodov [= Medical plots in traditional medicine Kurgan the Bashkir and the Altai people ], in: Ural-Altaj: cherez veka v budushhee [=The Urals-Altai: in centuries in the future], Ufa, pp. 149-153 (in Russ.).

20 Nafikov, Sh. V. (2009) Tamyry uzata boronzo bash "Kort. Ma^shhr jyjyntyzy. 0fe, 418 p. (in Bashk.).

21 Dolgopolskiy, A. B. (2008) Nostratik diction-ariy. Cambridqe.

22 Abylkasymov, B. Sh. (1992) "Zhauyn shakyru", in: Izvestija ANRK (Kazakhstan). Filologija, no. 3, pp. 50-54. (in Bashk.).

For research work, we have chosen this topic because it is very relevant in our time, when the problem of humanizing a person and society is relevant, the importance of national cultures in saving humanity from spiritual impoverishment is obvious. Appeal to the spiritual traditions of the people, to the national musical culture contributes to the moral, aesthetic and artistic education of young people, enriching their emotional and spiritual potential, developing a sense of mutual understanding, friendship and cooperation. Today, the upbringing and education of children in Bashkortostan, through the development of national traditions in music lessons, forms true respect for the peoples living in all regions of our vast Russia. Our work explores the folk origins of the musical culture of our region: Bashkir folklore in the form of oral folk art, Bashkir folk songs and rituals, instrumental folk music. Knowledge of the folk art of one's people contributes to the education of patriotism, a sense of pride in one's small homeland, forms respect for the history, language and national characteristics of the Bashkir people.

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Municipal budgetary educational institution of additional education for children Palace of children's and youth creativity "Orion" GO Ufa RB.

Research work.

Musical culture of Bashkortostan.

Completed by: Shutanova Ksenia Dmitrievna

Pupil of the association "Teaching to play the violin"

Leader: Kudoyarova Alfiya Askhatovna.

Ufa-2014

Introduction.

The purpose of our study is to familiarize children with the study of all types and genres of folk musical creativity of the Bashkirs, the formation of a strong interest in this topic and the ability to independently navigate in extensive information, applying the acquired knowledge in practical classes.

Chapter 1 Musical creativity of the Bashkirs.

The musical creativity of the Bashkirs is distinguished by deep antiquity. The data of the ethnic history of the Bashkirs, as well as the materials contained in the folklore itself, give reason to believe that the folding of Bashkir folk music into a single figurative-semantic and stylistic system occurred simultaneously with the formation of a single Bashkir nationality from various tribal groups. It is known that constantly developing and changing, musical folklore, however, retains over the centuries such primary elements as intonations, voles, modal and rhythmic formations, and in some cases separate plots and images. Naturally, the processes of the emerging Bashkir nationality were reflected in the system of means of musical expression in the same way as they were reflected in the language and other elements of the material and spiritual culture of the Bashkirs. The richness and originality of the Bashkir musical folklore is largely due to the long process of interaction and merging of the folklore of the ancient Bashkir people with the musical and poetic forms of the Turkic tribes. This process was so organic and gradual, and the role of the music of the ancient Bashkir tribes was so dominant that by the time the single Bashkir people were formed, a rich and diverse folklore had developed, distinguished by originality and unity of style. Existing in the oral tradition, folk art, of course, is constantly changing, individual forms and genres die off, and new ones are born to replace them, bearing the features of continuity. This process continues from ancient times to the present day.
Of the emerging genres and forms of the folk oral tradition, replacing each other over the centuries, relatively few monuments have survived. Moreover, they came in an updated, if I may say so, modernized form, because passing from generation to generation, genres and forms, along with the preservation of traditional continuity, absorb new, more modern features. This process is especially evident in folk poetry, where researchers, comparing and analyzing different versions of one legend, like archaeologists, reveal a number of different temporal layers in them.

Chapter 2 Bashkir folklore: Irtek and Kubair.

The song and poetic folklore of the Bashkirs, preserved from ancient times, with all its diversity of genres and forms, forms two large groups that have much in common with each other.
One of them can be attributed to the works of folk art with a predominance of textual, poetic beginnings in them. The musical side, if present in them, plays a more or less subordinate role. This group includes the ancient legends "Kuzy Kurpes and Mayan Khylu", "Alpamysha and Barsyn Khylu", "Akbuzat" and others, which existed in the form of irteks and kubairs.
During the performance of the folk epic, some musical and poetic patterns are captured. The developed, poetic text of the Kubairs "affects" in a singsong voice. The rhythm of the short, recitative melody of the kubairs is subject to the metrics of the seven-syllable "kubair verse".
A later epic-poetic genre was byte (bayet). Initially, this was the name given to poems of book origin, which settled in the memory of the people and were passed from mouth to mouth.
Later, a poetic work of oral tradition began to be called a byte, which is based on a significant, most often dramatic plot that tells about a historical or everyday event, about bright, heroic personalities.
Unlike the genres of irtek and kubair, which do not develop in modern conditions (not a single irtek and kubair on a modern topic has been recorded), the bait is a viable form of epic that is actively developing. It can be said that, in essence, it absorbed the functions of irtek and kubair, became a living modern form of folk epic. Folklore expeditions annually record more and more bytes on the topic of the civil war, the partisan movement, the Patriotic War.
Bytes, like kubairs, are performed in a sing-song recitative, but the tunes are more varied and individualized, they are based on a certain melodic cell.

Chapter 3 Bashkir folklore: historical songs and tunes.

Another extensive group of Bashkir folklore, embracing all aspects of folk life, is formed by musical genres. These are, first of all, historical songs and tunes. They were formed as a genre in the heyday of the traditional Bashkir epic, they absorbed many features of epic forms. In a number of texts of historical songs, in legends for instrumental tunes, there are themes, images, artistic and structural features of the Kubair verse.
The heroic epic is associated with historical songs about the fate of the people, about the unity of tribes and clans, about the harmfulness of ruin and civil strife, about the defense of the homeland ("Ural", "Semirod", "Iskender", "Sultanbek", "Boyagym Khan"). According to the legends to the songs, as well as their specific historical content, one can judge the time of the appearance of a number of songs. For example, in the legend-song "Ural" it is said that the song was composed in honor of the return of the Bashkir ambassadors from the Russian Tsar Ivan the Terrible.
Not later than the 18th century a new layer of historical songs is emerging, in which the patriotic theme of the homeland and national unity is intertwined with angry motives of protest and the fight against oppression and colonization (see the songs "Ruin", "Kola Canton", "Tevkelev", etc.). The lyrics and tunes of such songs are full of drama. They depict images of the oppressors and rapists of the people, expressing people's hatred.
The theme of homesickness was reflected in the historical songs of this period. The heroes of the songs are quite real people who remained in the memory of the people as courageous, recalcitrant to the authorities, sufferers for a just cause ("Buranbay", "Biish", etc.).
Characteristic for Bashkir historical songs is the military theme, which is revealed widely, from various angles. Her bright images "Kutuzov", "Lubizar", "Squadron", "Second Army" - about the participation of the Bashkirs in the Patriotic War of 1812; "Port Arthur" - about the Russian-Japanese war; "Tsiolkovsky" - about the unlucky and cruel military commanders of the Bashkir troops (XIX century).
Historical song is an actively developing genre, reflecting the most important moments in the history of the Bashkir people. There are songs about the events of the First World War, about the revolution, the civil war, about the memorable days of our reality.

Chapter 4 Folk songs and rituals of the Bashkirs.

A wide and varied layer of folk songs is associated with life and everyday life, with labor processes. There are whole cycles of songs about horses, about hunting, about shepherd life. (Songs and tunes "Kara yurfa" - "The black pacer", "Saptar yurfa" - "The playful pacer", "Burte at" - "Karakovy horse", "Alhak kola" - "Lame saurian horse", "Yulfotto hunarsy" - "Hunter Yul gotto", "Irendek" (the name of the mountain), "Ak yauryn sal berket" - "Berkut with white shoulders and a gray head", etc.).
Rich in songs and everyday rituals of the Bashkirs. The most developed, colorful has long been a wedding ceremony. It is distinguished by great originality, and many of its features are reminiscent of ancient times. Ethnographers attribute to the period of the decomposition of the tribal system such elements of the Bashkir wedding as the payment of a kalym, a secret visit to the bride by the groom, elections for the bride kiemetlek esei, kiemetlek atai (named mother and father from the groom’s relatives), throwing a young woman the morning after the wedding into a stream of a silver coin, etc. e. Songs are an integral part of the Bashkir wedding. Wedding song genres include senlyau (senlau - lamentation, lamentation), telek (telek - wishing young people all sorts of well-being), hamak (hamak - wedding recitative), festive, drinking songs sung at the wedding feast (tui yyry, mezhles yyry).
The songs "Crow's porridge", "Crow's holiday" are connected with the spring ceremonial games. There are large cycles of songs and tunes about rivers, streams, lakes. Many of them probably date back to the time when the Bashkirs had a cult of nature and animals. You can refer at least to the songs "Zayatulyak", "Agidel", "Irendek". The range of songs dedicated to mountains, valleys, images of sounding nature, and birds is extensive. Many of them have a lyrical character, and the images of nature in them push aside the psychological moments, the mood of a person. Such are the songs "Kurtash" (mountain), "Mountain Song", "Cuckoo", "Burenushka", "Ringing Crane" and many others.
Lyrical songs are rich in themes and genre shades. Among them there are original "valiant songs" that reveal the world of thoughts and feelings of a Bashkir traveler, equestrian, reflections of an experienced person who has seen a lot in life. These include the songs "Life Passed", "Traveler", "Ilyas", "Azamat".
An independent group consists of lyrical songs about girlish and female fate. Such as "Tashtugai", "Salimakai", "Zyulkhizya", "Shaura" represent the classical images of the Bashkir lyrical melos. Love lyrics are highly developed in Bashkir music. Lyubon songs are distinguished by chastity, poeticization of the feeling of love and its bearers.
Among everyday songs, drinking, guest songs, songs on comic and satirical plots, as well as dance songs are quite widely represented. An independent group consists of lullabies and children's songs. At the end of the XIX century. the so-called Zimogor songs appeared, reflecting the work and life of the Bashkirs working in the fields, factories and plants.

Chapter 5 Instrumental folk music of the Bashkirs.

The songs and instrumental tunes of the Bashkirs are similar in content and musical style, although, of course, there are specific differences in the nature of the instrumental tune from the vocal melody.
Instrumental folk music of the Bashkirs, represented by tunes on kurai, less often on kubyz, and in the post-revolutionary period on accordion and violin, is mainly programmatic. The content of the programs for the most part coincides with the content of the songs. The performance of songs and tunes is often preceded by a legend (yyr tarihy) about the history of the origin of a given song or tune. In the legends preceding the performance of instrumental music, the content of the performed work is revealed.
The proximity of the vocal and instrumental forms of Bashkir folk music is evidenced by the presence of such an original type of music-making as "uzlyau" (ezlau), which is a special way of performing two-voice by one singer, which is a kind of imitation of the sound of the folk instrument kurai.
The classic genre of folk songs is a group of uzun kui (drawn-out slow songs and tunes). In essence, the term uzun kui (ezen kei) is not only a definition of the type of melody, it is used by the people to determine the genre and style features of both the melody itself and the style of its performance. In a broad sense, uzun kui is a set of stylistic and genre techniques developed by centuries of artistic practice, when the creator of the melody was also its first performer, when the skill of improvisation, within the limits of aesthetic norms developed by tradition, was the basis of folk art. In a narrower sense, uzun kui means a slow, drawn-out song or tune. Instrumental melodies in the style of uzun kui are most often variants of songs, rather peculiar and developed in their form.
The term "kyska kuy" (kyska kei), that is, a short song, defines a very wide layer of folk song art, vocal melodies and instrumental melodies in the kyska kuy genre are usually associated with everyday and lyrical themes, but there are kyska kuy and historical Topics.
Just like the songs of the uzun kui type, the songs of the kyska kui style have their own characteristics, which probably developed over a very long period. The concept of kyska kui, just like uzun kui, includes certain stylistic features of the melody and the nature of its performance.
According to their content and genre features, the melodies of kyska kyui can be divided into several groups. A number of songs in the style of kyska kuy are popularly called halmak kei, i.e., a calm song. They are performed at a moderate pace, have a lyric-contemplative character, most often they sing the images of nature. You can cite, for example, the songs "Tyuyalyas", "Round Lake", "Steppe Erkey".
Thus, the Bashkir folk musical creativity is rich and diverse both in content and in terms of genre. It is in constant development, and its specific features have a strong impact on modern Bashkir musical culture.

Conclusion.

Thus, we see that the history of the folk musical creativity of Bashkortostan is very rich and meaningful. Modern musical culture is inextricably linked with its roots and is in constant development. There are a lot of outstanding composers and musical groups performing folk music in our republic. In our palace of children's and youth creativity there is a music studio "Lira", where children learn to play various musical instruments. The leading place in the repertoire of students belongs to the Bashkir folk music, the works of the best composers of the Republic of Belarus. Our plans for the future: to continue the work begun on the study of folk music, to involve general educational institutions of our region in joint work and creativity.

I want to believe that we are on the right track!

Bibliography:

Bashkortostan. Brief encyclopedia, ed. R.Z. Shakurova Ufa, publishing house: "Bashkir Encyclopedia", 1996.
Essays on the culture of the peoples of Bashkortostan. Comp. Benin V.L. Ufa, publishing house: Kitap, 1994
Site on the Internet: http://lib.a-grande.ru/music.php

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Introduction

Bashkir oral poetry is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the Bashkir people until the beginning of the 20th century, extensive in scope and diverse in genres. The rich inner world, history and way of life, dreams and aspirations of the Bashkir people are vividly reflected in his nationally original genres. The best epic genres are created by the masters of improvised artistic word sesengs.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development.

The purpose of this work is to analyze Bashkir oral poetry as an essential element of Bashkir folk art, analyze its main genres, identify the connection between literature and oral poetic creativity and consider the work of sesens (on the example of Buranbai Yarkeisesen and Ishmuhammetsesen).

1. BASHKIR ORAL POETRY. CONNECTION OF LITERATURE WITH ESSENTIAL POETIC CREATIVITY

Bashkir oral poetry, which in fact is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the people until the beginning of the 20th century, is vast in scope and diverse in genres. In its nationally original genres - in heroic poems (kubairs) and romantic tales, historical songs and baits, fairy tales and legends, ritual poetry and takmaks, proverbs and sayings - a rich inner world, history and life, dreams and aspirations of the Bashkir people are vividly reflected .

The best epic genres were created by nameless masters of the improvised artistic word sesengs. In their work, the kubair genre has reached especially great perfection and unique national poetic originality.

Kubair (kobaiyr) is the main genre form and folk type of verse in Bashkir heroic tales. Kubairs are typologically close and related, for example, to Russian epics, Ukrainian dumas, Kazakh zhyrs, Yakut olonkho, and Caucasian Narts. Professor A.N. Kireev explains the word “kubair” as “a good, glorious song”, i.e. praise song. Indeed, the main ideological and thematic content of kubairs is connected with the glorification of the Motherland, the native Uraltau, the people and their glorious batyrs. The deep social patriotic content of the Kubayrs, their emotional strength, the words of the sesens about the protection of good and the scourging of evil, their call to the people to defend their native land in battle with enemies gave this epic genre the greatness and power of the mandate-cry of the Motherland, poetic instructions and covenants of ancestors.

In kubairs, perhaps more than in any other genre of oral and poetic creativity of the Bashkirs, the art of eloquence and folk wisdom are revealed. In the old days, yiyns (people's meetings), large celebrations and various holidays were a place to test the resourcefulness and skill of sesens. They often spoke on behalf of the people - the tribe, clan, expressed their thoughts and aspirations, yiyns unusually increased the social significance of the Kubairs. On their basis, a peculiar, as it were, independent genre of eytesh, as well as the Kazakh aitys, a poetic competition of sesens, arose.

The deep content of the kubair is achieved by a high and at the same time simple poetic form, its aphoristic sound. Unlike a song, where a semantic connection between the two halves of a stanza is not necessary, in kubair, as a rule, every poetic image, every comparison, parallelism or trope serves as a means of expressing the main idea and constitutes an organic part of the overall poetic canvas. Phenomena or objects are described in it carefully, in detail, and therefore the stanza of a kubair, even if it consists of one sentence, can include from two to twenty-four or more lines. The smoothness and uniformity of the rhythm, the obligatory rhyming of the lines ensures ease of perception.

A feature of the kubairs should also be recognized is the fact that they often use proverbs, sayings, winged expressions. Some consist almost entirely of aphoristic sayings. The most significant and original heroic tales of Kubair are “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khuukhylu”, “Alpamysha and Barsynkhylu”, “Kuzykurpyas and Mayankhylu”, “Kusyakbiy”.

One of the early monuments of the Bashkir epic is the heroic poem about the Ural Batyr (“Ural Batyr”), which expresses the idea of the victory of life over death. The Ural batyr defeated Death, sacrificing his own life: he refused to drink the living water he obtained with great difficulty and sprinkled it around him to immortalize nature. People poured a high mound over his grave, from which, as the poem says, the Ural Mountains were formed, and the remains of the Ural Batyr were preserved in the form of various precious stones, gold, silver and iron.

The thematic completion of the poem about the Ural Batyr is the legend "Akbuzat". In the legends “Kuzykurpyas and Mayankhylu”, “Aldar and Zukhra”, “Kusyakbiy”, in contrast to the mythological epic, life, customs, beliefs, traditions of nomadic economy, festivities, sports competitions really act. They are full of deep lyricism, motives of love and fidelity, devotion to each other. In the evolution of the epic traditions of the Bashkir folklore, especially in the 18th - 19th centuries, there is a close interweaving and interpenetration of the kubair and historical songs and baits. Bashkir baits are usually dedicated to socio-historical events of heroic-tragic or dramatic content. For example, in the bait about Kinzekeev, the punitive torment of the village of Kinzekeevo (now the village of Petrovskoe, Ishimbai district) is told. “Bait about the Land” depicts the invasion of tsarist officials and robbers on the Bashkir lands. The artistic expressive properties of baits are determined by the combination of features in them, coming from song creativity and written poetry. The simultaneous creation and existence of songs and baits about the same important historical events later turned into a wonderful tradition of Bashkir oral and poetic creativity.

Approximately in the XVIII - XIX centuries. an extremely rich and mass form of folk poetry was finally formed - the song and musical classics of Bashkir folklore. What kind of themes and genre forms are not in this repertoire: from historical classical songs about the Motherland and batyrs (“Ural”, “Salavat”, “Azamat”, “Kakhymtyure”, “Kutuzov”, “Caravanserai”, etc.), canton chiefs (“Sibaikanton”, “Kuluykanton”, “Kagarmankanton”), about exiles (kaskyn yyrzary) - such as “Buranbay”, “Biish” to everyday, ritual songs (senlei, telek yyry) and excellent songs about the female lot (“Tashtugai” , "Zulkhizya", "Shaura", "Gilmiyaza", etc.).

Among the traditional genres of the Bashkir folk song (yyr), the uzunkyuy, the treasury of the Bashkir folk musical and poetic culture, occupies a prominent position. The national character of the Bashkir people is most deeply and comprehensively expressed in the uzunkui, their life and struggle for a brighter future are clearly reflected. That is why Uzunkyuy is at the same time a national epic: in the past, not being able to capture their eventful history in writing, the Bashkir people sought to display it in Uzunkyuy. The embodiment in a perfect form of high thoughts and feelings of the people, a high level of musical and poetic skill and, finally, the lively development of traditions in modern conditions, all this allows us to call the Uzunkyuy the Bashkir folk musical and poetic classics.

In all its forms and genres, Bashkir song and musical creativity truly reflects the life of the people, their customs and beliefs, thoughts and aspirations. The song both consoled and inspired a person. The song treasury, enriched over the centuries, has absorbed the wisdom and spiritual beauty of the people. The features of the artistic self-consciousness of people of the most ancient period are reflected in fairy tales. In the Bashkir epic, fairy tales, household and animal tales are most richly represented. Fairy tales reflect the fear and surprise of a person before the incomprehensible forces of nature, show the struggle of a person with these forces, their overcoming. The rich nature of the Urals - an abundance of mountains, forests, waters - could not but amaze the imagination of a person, but arouse the desire to find a feasible explanation for incomprehensible phenomena. The main characters of the Bashkir folk fairy tales are: azhdaha, yukha, div (or diyu, due), peri, gin, myaskay - evil spirits and creatures hostile to people. Among the positive characters, the winged horse Tulpar stands out - the faithful servant of the fairy-tale hero and the huge bird Samregosh, who saves the hero because he saves her chicks from azhdaha (dragon). The fairy-tale tradition has also developed a whole range of magical items that make it easier for the heroes to do their deeds.

The most widely used of them are the self-cutting sword, the self-cutting ax, the invisible hat, water, which adds or subtracts strength; a scallop from which a forest grows; a mirror that turns into a lake (river, sea); kurai, from which blood drips if the hero is in trouble, or milk - if the hero is lucky; healing herb; clothes that do not wear out; bread that never ends, etc.

Bashkir household tales more fully and directly reflect social life, social relations; they acquaint with bygone times, introduce into the atmosphere of nomadic life, into the life of hunters, cattle breeders. At the same time, the wit of the people was more clearly reflected in them, their satirical laughter was brought to us.

The heroes of everyday fairy tales reflect the vital interests of the people in their actions, they act as detractors of untruth. Fairy tales always end with the return of the hero to his homeland with victory. The attitude of the hero to his native land is clearly expressed in the saying: “It is better to be an ultan (sole) in the homeland than a sultan in a foreign land,” which often serves as the ending of fairy tales of the household cycle. This sublime feeling of love for his homeland and longing for it captures the hero the stronger, the farther he goes from his homeland. So, in one of the tales, the king decided to marry his daughter to someone who would climb to the top of a very high pillar with a glass of water on his head and calmly go down. The hero of the tale fulfilled this condition. He reached the very top of the pillar, the water from the glass did not spill, but tears flowed from his eyes: the batyr saw his native land from there, and sadness attacked him.

Characteristic for the Bashkir oral folk art are various riddles and kulyamas (jokes). Each significant phenomenon of life found a peculiar reflection in riddles. In ancient times, it was forbidden to pronounce certain words. For example, our ancestors believed that if you pronounce the word “bear” (ayyu), then this beast will appear and harm people. Therefore, they called him a figurative word - "olatai" (grandfather). Riddles gradually formed from such forbidden words and expressions. Kulyamas is one of the genres of folk art: a work with witty content, based on an original event with an unexpected ending, i.e. kulyamas (joke) - a short oral story about a funny incident.

The continuously developing and enriching oral poetic works of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development.

Oral poetic classics and now continues to deliver aesthetic pleasure. The lively development of the traditions of the verbal and musical art of the Bashkir people, its exceptional role in the formation and growth of the Bashkir culture is evidenced, in particular, by the fact that its development is largely based on the widespread use of the richest folklore.

2. SESENS. BURANBAYARKEY (1781-1868), ISHMUHAMMET (1781-1878).

Sesen - Bashkir folk poets, improvisers and singers. They improvise in the form of song recitative to the accompaniment of the dumbyra.

Sesen competitions were held at yiyins. Sesaengs were considered among the people as the most respected personalities. They were not limited only to poetic creativity, but were active public figures: they were keenly interested in the life of the people, they always found themselves in the thick of important historical events, with a fiery poetic word they called on the people to actively fight for their spiritual freedom. In the kubair “Dialogue between Akmurzysesen and Kubagushsesen” (“Akmyrza sesen menen Kobagosh sesenden eyteshekene”), the social ideal of sesen is expressed: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of people is in his songs ". Some sesens were participants in peasant demonstrations on the territory of Bashkortostan, and the poet improviser Salavat Yulaev was the leader of a large peasant movement. The names of many talented sesens of the 14th-18th centuries, closely connected with the history and spiritual culture of the Bashkirs, have been preserved: Khabrau, Yerense, Kubagush, Karas, Makhmut, Baik, Aidar, and others. 19 - beg. 20th century their traditions were continued by Ishmuhammet Murzakaev, Gabit Argynbaev, Khamit Almukhametov, Sabirian Mukhametkulov, Shafik Aminev Tamyani, Valiulla Kulembetov. In the post-war years, the works of M. Burangulov, F. Davletshin and S. Ismagilov were most popular; they were awarded the title of People's Sesens of Bashkortostan. Now the traditions of sesengs are being actively revived.

Approximately in the 15th - 16th centuries, the legendary Khabrau lived - one of the first Bashkir sesens, whose names have survived to this day. In his improvisations, he sang of his native Ural, called on the people to protect it from foreign invaders. As modern scientists note, the name of the outstanding Habrausesen was then known from the Urals to Altai.

BURANBAYARKEY(1781-1868)

"Buranbay" is a Bashkir historical folk song Uzunkyuy. It was recorded in different years in the regions of residence of the Bashkirs S.G. Rybakov, M.A. Burangulov, G.S. Almukhametov, S.Kh. Gabyashi, A.S. Klyucharev, I.V. Saltykov, K.Yu. Rakhimov, L.N. Lebedinsky, F.Kh. Kamaev and others. "Buranbai" was processed by composers H.F. Akhmetov, M.M. Valeev, Rakhimov. The emergence of the song and legends about Buranbai is associated with the name of the folk singer-improviser and kuraist Buranbai Kutusov (Buranbai Yarkeisesen), yurt foreman of the 6th Bashkir canton (now the village of Stary Sibai, Baimaksky district of the Republic of Belarus). The song reflects an event in Kutusov's life, when he was exiled to Siberia in 1820, together with his colleague Aisuak Ibragimov, on false charges. The tune of the song is masterfully ornamented, the melody has a large range (more than two octaves). The performance of "Buranbai" testifies to the special talent and maturity of the singer and musician. M. Khismatulin, I. Sultanbaev, A. Sultanov, S. Abdullin, F. Kildiyarova, M. Gainetdinov are considered the best performers of Buranbai. The tune of "Buranbay" was used in Akhmetov's suite for violin and piano (1940), in the ballet "Crane Song" by L.B. Stepanova (1944).

ISHMUHAMMETSESEN(1781-1878)

Ishmuhammetsesen is a pseudonym, the real name and surname of this sesen is Ishmuhammet Murzakaev. He was born in 1781 in the village of Novo-Balapanovo, Verkhneuralsky district, Orenburg province, now the Abzelilovsky district of the Republic of Belarus. He died in 1878 in the same place. Ishmuhammet sesen is an outstanding Bashkir storyteller, singer and kuraist. According to legend, he is the author of the songs “The Ringing Valley” (“Sandy Uzek”), “The Fugitive Yulty” (“Yulty Karak”), “Buzykaev”, etc. In military service he was a kuraist under the head of the 9th Bashkir canton of the Orenburg province Kagarman Kuvatov , as well as under the Governor General of the Orenburg province V.A. Perovsky.

Ishmuhammet sesen had a great influence on the work of subsequent sesens and kuraists, in particular on Gabitsesen. Sesens of each generation were worried about the fate of the people, their plight, they called for loyalty to the best human qualities developed by the working masses for many generations. The poetic works of oral authors were distinguished by the significance of the content, the depth of thought, and the apt imagery of the language. Some lines from their improvisations later became folk proverbs and sayings. Loving and respecting the work of sesengs, the people also expressed their attitude towards them in proverbs and sayings. There are, for example, such aphorisms:

Hold your tongue in front of a seseng.

The greatness of a seseng is in his poetic word.

Sesaeng's word is for everyone.

The oral poetry of sesengs must be able to distinguish from folklore. Folklore - folk oral poetry - is also distributed orally. But it does not have a specific author, but is formed collectively. And in oral literature, the worldview of any individual author - a sesen improviser - is clearly expressed.

Conclusion

Oral and poetic creativity of the Bashkir people is the history of this people. It began from ancient times and for centuries it has been and is the center of the soul of the people, reflecting the thoughts and aspirations of the people. People never stop their creativity. When there was no written language, people created orally. Fairy tales and stories, sayings and proverbs spread by word of mouth. They also passed from generation to generation. In the transition from storyteller to storyteller, they were enriched and improved. The works of sesens and individual masters of the word, spreading over the centuries among people, became the works of the people themselves.

Folklore teaches people to live. Calls to always be honest and decent. Calls to understand the beauty of the world. Learns to follow the example of the good and avoid the bad. Hails the greatness of the struggle for the happiness of the people. The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and nourishing soil for national fiction, largely determined its initial development. Oral poetic classics and now continues to deliver aesthetic pleasure. The lively development of the traditions of the verbal and musical art of the Bashkir people, its exceptional role in the formation and growth of the Bashkir culture is evidenced, in particular, by the fact that its development is largely based on the widespread use of the richest folklore.

Bashkir sesen folk art

List of used literature

1. Kharisov A. I. Literary heritage of the Bashkir people. Ufa, 2013.

2. Kireev A. N. Bashkir folk heroic epic. Ufa, 2014.

3. Bashkir folk epic. M., 2014.

4. Bashkir traditions and legends. Ufa, 2013.

5. Bashkir folk art. T.1. Epos. Ufa; T. 2. Traditions and legends. Ufa; T. 3. Heroic tales. Ufa; T.4. Fairy tales and fairy tales about animals. Ufa; T. 5. Household fairy tales. Ufa; T.6. Comic tales and kulyamyasy. Ufa; T. 7. Proverbs, sayings, signs, riddles. Ufa.

6. Bashkir folk tales. Ufa, 2013.

7. Khisametdinova F. G. and others. Native Bashkortostan. Ufa, 2014

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