Folk art of the Bashkirs. Bashkir folklore as a way to develop the speech of preschoolers

The Bashkirs, like many other non-literate peoples of Eastern Europe in the past. Siberia and Central Asia, created the richest folklore. In epic tales, legends, traditions, historical songs, historical events, the activities of individuals, the life and customs of the Bashkirs, the social life and ethnic image of the people are captured. Many monuments of oral folk art contain information about the tribal composition of the Bashkirs, about the migrations of the Bashkir tribes, their relationship with their neighbors, etc. The folk heroic epic of the Bashkirs, the emergence of which A.N. Kireev refers to the period of the collapse of primitive communal and the formation of early class relations (Kireev, 1970, p. 47). Usually heroic plots in Bashkir art (“Ural Batyr”, “Kuzy-Kurpes and Mayan-khylu”, “Kara Yurga”, “Kungyr Buga”, “Kusyak-biy”, etc.) in poetic images reproduce the events characteristic of the medieval nomadic society. In this regard, these monuments provide significant material not only for the restoration of some pictures of the ethnic history of the Bashkirs, but also for characterizing the internal social structure and social life of society.

Traditions and historical songs, often accompanied by stories about their origins, are also often based on real historical events. Of course, the transmission of these events is heavily overgrown with mythological plots that have been wandering from one legend to another since ancient times, fantastic images, an exaggerated assessment of the role of individual "batyrs", etc. But if the researcher succeeds in separating reliable facts from the thick stratification born of the storytellers' fantasy, then in his hands are additional sources emanating from the people themselves, new facts that cannot be obtained in any other way. Such, for example, is the historical legend of the southwestern Bashkirs, conditionally called by later scribes “The Last of the Sartay clan”, which tells about the events in Bashkiria during the war between Tamerlane and Tokhtamysh (end of the 14th century); the epic legend "Kusyak-biy", vividly reflecting the struggle of the southeastern Bashkir tribes for political consolidation (XIII-XV centuries?); the legend of the Bashkir-tan-gaurs "Gabdrash-batyr", recorded by us in 1953 and telling about the old Bashkir-Kazakh ethno-cultural ties, and many other monuments of Bashkir folklore. Even in works with a pronounced mythological plot (“Kun-gyr buga”, “Synrau torna”, “Akbuzat”, “Bala karga”, etc.), numerous facts and information are scattered that are of interest in terms of ethnic studies: they contain references about the ancient Aral-Central Asian relations of a number of Bashkir tribes, about the ways of resettlement to the Urals, about ancestral totems, tamgas, etc.

The involvement of the oral folk art of the Bashkirs in broad historical and ethnographic research becomes possible thanks to successful collecting and publishing work. Even in the second half of the XIX century. a series of works appeared devoted to both the publication and the historical interpretation of Bashkir historical traditions, legends and epic works (Nebolsin, 1852; Lossievsky, 1883; Nefedov, 1882; Sokolov, 1898, etc.). The vast majority of these publications were made without observing the scientific principles of publishing sources of this kind, which naturally reduces the possibility of their use.

The 1930s were the most fruitful in terms of the accumulation of folklore material. It was during these years that scientists, writers, teachers or simply collective farmers recorded and transferred to the fund of the Institute of History, Language and Literature the most outstanding examples of oral folk art of the Bashkirs

(epic works, legends, historical songs, legends, etc.) 8 . In the post-war period, the systematic collection of folklore resumed in the late 1950s, when the IYAL BFAN USSR again began to organize annual folklore expeditions. For more than ten years, expeditions have accumulated vast material, but from the point of view of historical and ethnographic value, it is inferior to the folklore monuments collected earlier; epic works, legends, historical songs in connection with the changed conditions are gradually erased from the memory of the people, and in many cases disappear altogether.

Some of the collected material was published in the 1950s (Kharisov, 1954, 1959). At present, the scientific publication of the multi-volume series "Bashkir Folk Art" has begun. The first book of the series has been published, which includes the most significant epic monuments of the Middle Ages (BHI, 1972). At the same time, the classification of Bashkir folklore monuments according to the principles accepted in modern science has not yet been completed. Until recently, there were also no special studies to help understand the historical foundations of the Bashkir folklore. In recent years, research in this direction has noticeably revived. Several very valuable works appeared in which interesting attempts were made to establish the relationship between historical reality and some plots from medieval monuments of Bashkir folklore (Kharisov, 1965, pp. 80-110; Kireev, 1970, pp. 21-47; Mingazhetdinov , 1971). However, the study of the historical foundations of the Bashkir folklore works in them has just begun. Dating, historical and ethnographic characteristics of even the main monuments of Bashkir folk art remain unclear. The reason is not only the general difficulty of solving the problem, the excessive desire of researchers to one or another to connect folklore works with specific historical facts, etc., but the main thing is the lack of development of theoretical issues related to the identification of general trends in the development of folklore among former nomads at the time of the birth and formation of the largest epic monuments. which in a certain part is also folklore in nature, suggests that the degree and depth of connections between oral folk art and historical reality are different in different eras. Of course, in any

Scientific archive of the BFAN USSR, f. 3, op. 12, 222, 223, 227, 230, 233, 242, 269, 276, 277, 292, 294, 298, 300, 303, 336.

During the periods of antiquity and the Middle Ages, in epic tales, folk tales, legends, etc., there was something of reality, something of fantasy. However, the heroic era, which coincided with the collapse of tribal and the formation of class relations, left a particularly deep imprint in the memory of the people, and people for a very long time, for many centuries, eagerly listened to the stories about heroes and batyrs, gradually supplementing these traditions with new, more recent plots and details. Despite the strongest touch of fantasy, the contours of real historical reality are quite clearly visible through the powerful hyperbolized images of epic narrations and legends born of the imagination. The monuments of the Bashkir folklore once again illustrate the profound justice of the words of K. Marx that “the ancient peoples experienced their prehistory in the imagination, in mythology" 9 .

Focusing on the prospects of using the Bashkir folklore material as a historical and ethnographic source, at the same time we emphasize that so far these possibilities are still limited. In addition to the circumstances noted above, the interconnectedness of the study of history and folklore is essential here. Folklore, of course, helps to understand history, but in order to comprehend the historical origins of folklore itself and penetrate into the patterns of its genesis and development, one must know the history of the people well. Now many recognize that the importance of folklore monuments in the study of the history of peoples without a written language in the past is great. But folklore cannot be the only and even the main source base. Folklore can widely reveal its potential as a historical source only when it is already interpreted from the standpoint of sufficiently broadly and thoroughly developed historical concepts. That is why in our study we avoided, despite seemingly numerous possibilities, the use of material gleaned from oral folk art as the main source in solving issues of ethnic history. As a rule, information and observations extracted from folklore works act as additional material in the work, helping to strengthen the argumentation of certain provisions. But even in this role, folklore material in ethnogenetic studies of nomadic and non-literate peoples in the past occupies an honorable place as a historical source.

K. Marx And F. Engels. Works, vol. 1, p. 419.

Onomastic material

Onomastics as a special discipline relatively recently declared itself as a science that has ample opportunities in solving mainly ethnogenetic, historical-linguistic and historical-cultural problems. In Bashkiria, until recently, onomastics in all its manifestations (ethnonymy, toponymy, anthroponymy, etc.) developed exclusively as an auxiliary discipline. The analyzes carried out by her, although they were of scientific interest, were, as a rule, based on randomly or arbitrarily selected examples and did little to help solve general historical problems. Passed in September 1971 in Ufa III The Volga Onomastic Conference revealed a completely new picture. She showed, firstly, the deep interest of the scientists of the Volga region (and in particular Bashkiria) - ethnographers, linguists, historians in the development of problems of onomastics; secondly, the improvement of methods for analyzing onomastic material and the expansion of the philological background of comparative historical examinations. The reports read at the conference on ethnonymy, toponymy and anthroponymy of the Volga-Ural region demonstrated the wide possibilities of onomastics in the study of problems of ethnic history, the history of migrations, etc. The material of the conference (“Onomastics of the Volga Region”, 1973) was used by the scholars.

At the same time, the work successfully begun in the field of onomastics in terms of source studies requires further development and deepening. The value of etymological research, to which historians have always attached importance, increases if at least a relative dating of the appearance of a given name in the environment of a particular ethnic group is established. To do this, onomasts will have to base their constructions not on fragments of onomastic material. It is absolutely necessary to accumulate data on the entire ethnos under study and on the entire territory of its historical habitat. Only under this condition will it be possible to make a historical-chronological (or stratigraphic) division of the material and further etymological and semantic research based on systemic knowledge about the historical development of this group of names. In the light of these requirements, it is necessary to note the work of A. A. Kamalov on the hydronymy of Bashkiria (1969). At present, the IYAL BFAN USSR is actively working on compiling a general card index of toponymic names of the BASSR.

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION

Chapter I. The theory of genre classification of works of folklore.

1.1. Definition of the concept of "genre" and its features in folklore.

1.2. Varieties of genre classification of musical and poetic folklore.

1.2.1. Combining folklore works by genre of poetry: epic, lyric, drama.

1.2.2. Ritual and non-ritual genres.

1.2.3. On the role of folk terms in the genre classification of musical and poetic folklore.

1.2.4. Types of genre classification based on various criteria.

Chapter II. Sources according to the genre classification of the musical and poetic heritage of the Bashkir people.

2.1. Issues of genre classification in the works of researchers of Bashkir folklore in the last quarter of the 19th century.

2.2. Genre classification of the Bashkir oral-poetic and musical creativity in the works of scientists of the first half of the 20th century.

2.3. Publications in the field of Bashkir folklore in the second half of the 20th - early 21st centuries.

Chapter III. Ritual genres of the musical and poetic heritage of the Bashkir people.

3.1. Calendar ritual folklore.

3.3 Children's ritual folklore.

3.4. Bashkir wedding folklore.

3.5. Funeral lamentations of the Bashkirs.

3.6. Recruit songs-lamentations of the Bashkirs.

Chapter IV. Non-ritual genres of the musical and poetic heritage of the Bashkir people.

4.1. Labor songs.

4.2. Lullaby songs.

4.3. Kubairs.

4.4. Munajaty.

4.5. bytes.

4.6. Lingering songs "ozone kui".

4.7. Fast songs "kiska kuy".

4.8. Takmaki.

Introduction to the thesis (part of the abstract) on the topic "Bashkir folk musical and poetic creativity: Classification issues"

Folk art has its roots in the invisible past. The artistic traditions of early social formations are exceptionally stable, tenacious, and determined the specifics of folklore for many centuries to come. In each historical epoch, works more or less ancient, transformed, and also newly created have coexisted. Together, they formed the so-called traditional folklore, that is, musical and poetic creativity, created and transmitted by each ethnic environment from generation to generation orally. Thus, the peoples kept in their memory everything that met their vital needs and moods. It was also inherent in the Bashkirs. Their spiritual and material culture, inextricably linked with nature, and an eventful history are reflected in traditional folklore, including song art.

Any historical event evoked a response in the song and poetry of the Bashkirs, turning into a legend, a tradition, a song, and an instrumental melody. The ban on the performance of any traditional song genre associated with the name of a national hero gave rise to new musical genres. At the same time, the names, functional and musical-style features of the songs could be changed, but the theme that excited the soul remained a source of popular inspiration.

Bashkir oral-poetic and musical folklore includes a variety of epic monuments (“Ural-batyr”, “Akbuzat”, “Zayatulyak and Khuukhylyu”, “Kara-yurga”, etc.), songs, legends and legends, bylichki - khurafati hikaya, poetic competitions - aitysh, fairy tales (about animals, 1 magical, heroic, everyday, satirical, short stories), kulyamyas-jokes, riddles, proverbs, sayings, signs, harnau and others.

The unique song heritage of the Bashkir people is made up of kubairs, labor songs and choruses, calendar songs of the annual agricultural circle, lamentations (wedding, recruiting, funeral), lullabies and wedding songs, lingering songs “ozone kuy”, fast songs “kyska kuy”, bytes, munajaty , takmaks, dance, comic, round dance songs, etc.

The national instrumentation of the Bashkirs includes original, popular to this day: kurai (kurai), kubyz (kumy?), stringed kumyz (kyl kumy?) and their varieties. It also includes "musical" household and household items: trays, buckets, combs, braids, wooden and metal spoons, birch bark, etc. Borrowed musical instruments, and instruments common among the Turkic peoples: whistles made of clay and wood, dombra, mandolin, violin, harmonica.

For more than two centuries, the musical and poetic folklore of the Bashkir people has been purposefully studied by representatives of various scientific directions and the intelligentsia. V.I. wrote about the rich national art. Dahl, T.S. Belyaev, R.G. Ignatiev, D.N. Mamin-Sibiryak, S.G. Rybakov, S.I. Rudenko and others.

Admiring the original musical gift of the people, local historian R.G. Ignatiev wrote: “The Bashkir improvises his songs and motives when he is alone, most of all on the road. Rides past the forest - sings about the forest, past the mountain - about the mountain, past the river - about the river, etc. He compares a tree with a beauty, wildflowers with her eyes, with the color of her dress, and so on. The motifs of Bashkir songs are mostly sad, but melodic; Bashkirs have many such motives that another composer would envy them.

In the field of traditional song folklore of the Bashkirs, many works have been written on individual genres, their regional and musical and stylistic features.

The relevance of research. The dissertation is based on knowledge of folklore and ethnomusicology, which allows us to explore the song genres of Bashkir folk art in the relationship between music and words. The sung-recited genres - kubairs, bytes, munajaty, senlyau, hyktau, songs-lamentations of recruits, as well as songs with developed melody - "ozone kui", "kyska kui", "takmaki" and other genres are considered separately, which makes it possible to consider song creativity of the Bashkirs in its diversity.

In modern science, there are generally accepted methods for studying folk art, in which “connections with a certain era, a certain territory and a certain function act as the main determinants”1. In the reviewed work, the main provisions of this theory of classification of song folklore are used.

The purpose of the study is a comprehensive systematic analysis of the vocal genres of Bashkir folklore, the study of their evolution, poetic and musical-stylistic features in their ritual and non-ritual functionality.

In accordance with the goal, the following tasks are put forward:

Theoretical substantiation of the study of the genre nature of works of oral-poetic musical creativity on the example of the folklore of the Bashkir people;

Identification of priority areas in the field of research of the genre basis of the Bashkir musical and poetic creativity;

Determination of the origins of the formation and development of genres of musical and poetic folklore of the Bashkirs in the context of traditional social culture;

Study of the musical and stylistic features of individual song genres of the Bashkir folk art.

The methodological basis of the dissertation was the fundamental works of domestic and foreign scientists devoted to the genre nature of folk art works: V.Ya. Proppa, V.E. Guseva, B.N. Putilov,

1 Chekanovskaya A.I. Musical ethnography. Methodology and technique. - M.: Sov. composer, 1983. - S. 57.

N.P. Kolpakova, V.P. Anikina, Yu.G. Kruglov; studies of theorists of musicology: JI.A. Mazel, V.A. Zuckerman, A.N. Sohora, Yu.N. Tyulina, E.A. Ruchevskaya, E.V. Gippius, A.B. Rudneva, I.I. Zemtsovsky, T.V. Popova, N.M. Bachinskaya, V.M. Shchurova, A.I. Chekanovskaya and others.

The dissertation uses achievements in the study of folklore of different peoples. Works on Turkic, Finno-Ugric cultures: F.M. Karomatova, K.Sh. Dyushalieva, B.G. Erzakovich, A.I. Mukhambetova, S.A. Elemanova, Ya.M. Girshman, M.N. Nigmedzyanova, P.A. Iskhakova-Vamba, M.G. Kondratieva, N.I. Boyarkin. In them, the genre classification of folklore works is carried out using folk terminology and ritual and non-ritual functionality.

The dissertation is a logical continuation of the study of the musical folklore of the Bashkirs and is based on works on local history and ethnography (R.G. Ignatieva, S.G. Rybakova, S.I. Rudenko), Bashkir philology (A.N. Kireeva, A.I. Kharisova , G. B. Khusainova, M. M. Sagitova, R. N. Baimova, S. A. Galina, F. A. Nadrshina, R. A. Sultangareeva, I. G. Galyautdinova, M. Kh. Idelbaeva, M. A. Mambetova and others), Bashkir folk music (M.R. Bashirov, JI.H. Lebedinsky, M.P. Fomenkov, Kh.S. Ikhtisamova, F.Kh. Kamaeva, R.S. Suleimanova, N.V. Akhmetzhanova, Z A. Imamutdinova, JI.K. Salmanova, G.S. Galina, R.T. Galimullina and others).

An integrated approach to the topic being developed is carried out on the basis of specific historical and comparative typological scientific methods of analysis.

The material for the thesis was:

2) folklore expedition records made on the territory of Bashkortostan, Chelyabinsk, Kurgan, Orenburg, Perm regions in the period from 1960 to 2003;

3) archival materials stored in the National Library. Akhmet-Zaki Validi, in the folklore classrooms of the Ufa State Academy of Arts, the Ufa Scientific Center of the Russian Academy of Sciences and the Union of Composers of the Republic of Bashkortostan, personal archives of folk music collectors K.Yu. Rakhimov, H.F. Akhmetova, F.Kh. Kamaeva, N.V. Akhmetzhanova and others.

In accordance with the tasks put forward, the structure of the work was determined, including an introduction, four chapters, a conclusion, a list of references.

The introduction outlines the purpose and objectives of the study, the methodological base, scientific novelty and practical significance of the dissertation.

The first chapter reveals the specific features of the works of oral song and poetry, their social significance. Folk forms of creativity (loose - stored not as material objects, but in the memory of the bearers of the tradition) at a certain stage of development were formed into art forms (music, poetry, dance).

At the species level, there are no specific definitions of the concept of "genre". In most cases, scientists use the term "genus" borrowed from literary criticism, meaning "a way of depicting reality", distinguishing three major areas: epic, lyrics, drama.

To understand the essence of the genre, it is necessary to point out the main features that make it possible to identify the coordinates of a work of musical and poetic art. This problem has been comprehensively studied both in theoretical musicology (JI.A. Mazel, V.A. Zuckerman, A.I. Sokhor, Yu.N. Tyulin, E.A. Ruchyevskaya), and in folklore (V.Ya. Propp , B. N. Putilov, N. P. Kolpakova, V. P. Anikin, V. E. Gusev, I. I. Zemtsovsky).

The interaction of a number of criteria (functional purpose, content, form, living conditions, structure of poetics, attitude to music, methods of performance) form a genre cliché, on the basis of which the classification of folk songs is built.

In scientific musicology and folklore, various ways of systematizing genres have developed. . Depending on the main conditioning factor, they can be built:

1) by genre of poetry (epos, lyrics, drama);

2) according to folk terminology (“ozone kui”, “kyska kui”, “hamak yuoi”, “halmak kui”);

3) functional features (ritual and non-ritual genres) of folk music;

4) according to various criteria (thematic, chronological, territorial (areal), national, etc.).

The second section of the chapter is devoted to the analysis of genre classifications used in the study of song folklore of the Turkic, Finno-Ugric and Slavic peoples.

In ethnomusicology, the division of genres according to the types of poetry is used, which is used depending on the hierarchical subordination of general and particular features that make up the artistic form of song genres.

In musical and poetic folklore, epic genres reflect the centuries-old history of the people. They are united by the narrative nature of the presentation of the poetic text, the recitative intonation of the melody. The performing process requires the obligatory presence of a sesen (singer-narrator) and a listener.

Song genres of a lyrical kind reflect the psycho-emotional state of a person. Songs of a lyrical kind carry a certain generalization of life and convey information not only about the event, but also about the personality of the performer, his attitude to the world around him, thereby reflecting all facets of life (philosophy, feelings, civic duty, mutual influence of man and nature).

The dramatic genre of musical folklore is a synthesis of art forms and incorporates song genres, accompanied by theatrical, ritual and choreographic action.

Of interest to folklore are the classifications of vocal genres based on common folk terms. For example, "o $ he qy",

Kb / QKa koy "- among the Bashkirs and Tatars," kvy "and<щь/р» - у казахов, инструментальный «/газ» и песенный «ыр» - у киргизов, «эйтеш» - у башкир, киргизов, казахов, «кобайыр,» - у башкир, «дастан» - у узбеков, казахов, татар.

This classification played a significant role in the development of folklore as a science in national schools in the study of the song heritage of the Turkic peoples and has not lost its practical significance in our time.

For practical purposes, folklorists at different times used genre classifications based on thematic (T.V. Popova, Kh.Kh. Yarmukhametov, J. Faizi, Y.Sh. Sherfetdinov), chronological (A.S. Klyucharev, M.A. Muzafarov, P.A. Iskhakova-Vamba), national (G.Kh. Enikeev, S.G. Rybakov), regional or areal (F.Kh. Kamaev, R.S. Suleimanov, R.T. Galimullina, E.N. Almeeva) criteria.

The second chapter analyzes manuscripts and printed publications from the end of the 19th to the beginning of the 21st centuries, devoted to the issues of genre classification in the field of Bashkir oral song and poetry. The chronological principle of constructing the chapter allows us to trace the degree of development of the problem in the field of the genre nature of the song culture of the Bashkir people in the works of local historians, historians, philologists and musicians.

The third and fourth chapters are devoted to the study of the genre basis of the musical and poetic creativity of the Bashkirs, which, depending on the presence or absence of a social function, is divided into two large groups. In accordance with this, separate ritual (calendar, children's, wedding, funeral, recruiting) and non-ritual genres (kubairs, bytes, munajats, long and fast songs, takmaks) are considered.

This classification allows us to explore the rich song folklore of the Bashkirs in close connection with the social and everyday way of life, to identify the dramaturgy of rituals, to substantiate the existing folk terms (“ozone kui”, “kyska kui”, “hamak kui”, “halmak kui”, “takmak”, "harnau", "hyktau", etc.), as well as to analyze the musical structure of vocal genres.

At the end of the dissertation, the results of the study of the genre nature of the traditional song art of the Bashkirs are formulated.

The scientific novelty of the dissertation lies in the fact that various types of classifications in the field of Bashkir folklore are considered (by types of poetry; by folk terminology; by functional, chronological, regional, musical and stylistic features), and on their basis an attempt was made to independently study the genre nature of song and poetic creativity of the Bashkirs; The conducted research makes a certain contribution to the development of the genre classification of the musical folklore of the Bashkir people.

The practical significance of the work lies in the fact that the dissertation materials can be used to create generalizing works in the field of Bashkir song folklore; to study the national musical cultures of the peoples of the Urals, the Volga region and Central Asia. In addition, the materials of the work can be used in lecture courses (“Musical Ethnography”, “Folk Musical Creativity”, “Folklore Expeditionary Practice”, “History of Bashkir Music”, etc.), read in the system of secondary and higher musical education in the Volga region and the Urals.

Dissertation conclusion on the topic "Folklore", Akhmetgaleeva, Galiya Batyrovna

Conclusion

The topic under study “Bashkir folk musical and poetic creativity (issues of classification)” is relevant, practically significant and of scientific interest for Russian folklore. The issue of classification of genres of folk art can be resolved with an integrated approach to the problem put forward.

The methodological principles used in the study of the systematization of the genres of the traditional song culture of the Turkic, Finno-Ugric, Slavic peoples are diverse and multifaceted. Their differences are based on the choice of any one or on a combination of several features. The following types of genre classifications of song folklore are known: the division of genres according to the types of poetry, the introduction of the terminology of the bearers of musical traditions, reliance on the social function, the use of chronological, territorial, genre-thematic, musical-stylistic properties.

From the end of the 19th century active work was carried out to collect and then classify samples of oral-poetic and musical creativity of the Bashkir people. At the same time, the conclusions of scientists in matters of the genre nature of the musical folklore of the Bashkirs were based on the volume of the collected material, systematized according to thematic and chronological features. Thanks to the painstaking work of researchers, lyrical, historical, wedding songs were recorded; takmaks, "religious-folklore" songs, dance melodies and many other genres.

Russian musician S.G. Rybakov was the first to use the folk terms "ozone kui" and "kyska kui" as a definition of the genre characteristics of the Bashkir folk music.

An analysis of the scientific works of the 20th century devoted to the original song culture of the Bashkir people indicates the absence of a coherent unified system for classifying genres. It should be noted that many researchers did not set themselves such a goal. Some of the authors are guided by thematic and functional principles, while others rely on the melodic structure of folk songs.

In the genre classification of the song heritage of the Bashkir people, as in literary criticism, the principle of clan division is used as the main one.

Scientific viability is demonstrated by the systematization of Bashkir folklore works based on the folk terms “ozone kui”, “kyska kui”, “halmak yuoi”, “hamak kui”. At the same time, their meaning is interpreted in two ways: as song genres and as signs that determine the form and structure of the melody.

Domestic collectors and researchers of the Bashkir song folklore, when compiling collections, often used the historical and chronological principle with further thematic division: a) songs of the pre-October period; b) Soviet songs.

The last decade of the XX century. characterized by the introduction of the classification of traditional musical and poetic genres into domestic folklore, due to the social function and melodic and stylistic structure. This system allows us to consider song folklore from the point of view of ritual (timed) and non-ritual (not timed) genres.

The concept of "genre" has a morphological and aesthetic content. It is determined by the totality and degree of impact of different criteria: a) functionality; b) content; c) unity of text and melody; d) compositional structure; e) form; e) living conditions; g) the structure of poetics; h) time and place of performance, etc. At the same time, functionality is one of the fundamental characteristics.

Based on functional features, connection with various everyday situations, traditional culture, as well as musical and stylistic features of the works, the song heritage of the Bashkirs is divided into ritual and non-ritual genres.

The group of song genres, conditioned by certain circumstances and time, includes the most ancient vocal forms of intonation: “harnau” (recitations that were part of magical rituals), “hyktau” (crying for the dead), “senlyau” (lamentations of the bride), exclamations-cries and invocations (refrain songs addressed to the elemental forces of nature), as well as traditional vocal genres: calendar, wedding songs, recruit songs-lamentations.

The group of song genres, not determined by certain circumstances and time, is made up of epic and lyrical-epic works (kubairs, munajats, bytes), drawn-out lyrical-epic and lyrical songs "ozone kuy", short songs "kyska kuy", takmaks, labor and lullabies songs.

The traditional vocal music of the Bashkirs has specific properties. Various types of melos have developed in it - from recitative (calendar incantations, lamentations, kubairs) to richly ornamented (drawn-out lyrical songs). The principles of emotional, figurative, genre typification of intonations are observed. For example, recitative-declamatory vocal genres are associated with the archaic forms of performing art of the Bashkirs "harnau" and "hyktau", which are characterized by a special manner of sound production, accompanied by a change in the register and timbre of the voice. Their tunes use low-volume anhemitone (trichord), incomplete diatonic (tetrachord) scales; major and minor pentatonic. This confirms the antiquity of the intonation scheme of the scale and melodic movement.

The song culture of the Bashkirs is monodyne by nature. The solo performing art of the people is closely connected with the genre of lingering song. It reveals the principle of variant germination of the intonational beginning of a melody, the breadth of vocalization of the syllables of a poetic text. The melodies of the lingering songs “ozon kuy” are built on varieties of anhemitonic scales, the volumes of which expand due to the merger of various pentatonic-modal formations.

In connection with the specifics of the national sound, the poetic text is of particular importance in "ozone kui". The phonetics of the Bashkir language plays an important role in the patterned ornamentation of songs, which later became a kind of musical classic of the people (Ural, Zulkhiza, Buranbai, and many others).

The rhythmic structure of the richly ornamented "ozone kui" is characterized by the irregularity of the metrorhythm, they reveal the principles of an aruz, quantitative metric, based on the ratio of the longitude of rhythmic durations.

The opposite of the Bashkir lingering songs are short songs "kyska kuy" with a clear relief melodic pattern, strict proportionality and symmetry of proportions, a clear accent rhythm and a certain syllable-sound ratio in the melody.

Form formation is determined by the genre and musical-stylistic properties of folklore works. In the Bashkir song culture, the basis of recited tunes is made up of one-line tirade forms, which perform the functions of the compositional organizing role of stanzas. In Bashkir lingering songs, the melody corresponds to one half-stanza of a four-line verse, and in bytes the melody is equal to a two-line stanza.

A characteristic feature of the non-ritual genres of musical and poetic creativity of the Bashkirs is the fusion of song text and legend or legend ("ozone kui"), verse and melody (kubair). For the poetic texts of certain traditional song genres, the melody is not attached to a specific text (epic songs, bytes, munajats, takmaks).

Creative comprehension by professional composers of the genre diversity of musical folklore of the Bashkir people contributed to the creation of works of large forms.

Thus, the librettos of a number of Bashkir operas are based on ancient legends and/or traditions. For example, the libretto of the opera A.A. Eikhenvald "Mergen" is written

M. Burangulov based on the epic "Mergen and Mayankhylu". The plot basis for the opera "Akbuzat" by Kh.Sh. Zaimov and A. Spadavecchia served as the libretto by S. Miftakhov, created based on the epic of the same name.

The work of one of the founders of Bashkir professional music, People's Artist of the USSR, Professor Z.G. Ismagilov is closely connected with the cultural heritage of the people. Based on the folk legend Z.G. Ismagilov and L.B. Stepanov created the first national ballet "The Crane Song" (libretto by F.A. Gaskarov). The lyric-psychological opera "Shaura" (libretto by B. Bikbay) tells the story of the dramatic fate of a Bashkir girl in pre-revolutionary times. The heroic-patriotic operas “Salavat Yulaev” (libretto by B. Bikbay), “Ambassadors of the Urals” (libretto by I. Dilmukhametov), ​​“Kakhym Turya” (libretto by I. Dilmukhammtov, A. Dilmukhametova) are devoted to the pages of the history of the people.

To express the national color, composers often turn to the traditional song and poetry of the Bashkirs. So A.A. Eikhenvald in the opera "Mergen" uses the drawn-out lyrical song "Ashkadar", the melodies of the Kubairs "Kara Yurga" and "Kungur Buga" to characterize the characters. In the melodic outline of the lyric-psychological opera Z.G. Ismagilov "Shaura" woven variants of the lingering lyrical song of the same name. In the operas of Z.G. Ismagilov "Salavat Yulaev", "Kakhym turya" used Bashkir folk songs "Salavat" and "Kakhym turya" dedicated to national heroes.

We hope that in the future, solving the problem of the genre system of Bashkir musical and poetic creativity will contribute to the creation of studies related primarily to the history, sociology, dialectics of each song genre, which will allow us to take a fresh look at the ways of mutual enrichment of folklore genres, the musical and stylistic features of folk songs, as well as to determine their practical significance at the present stage.

This dissertation is carried out in line with the modern scientific and practical direction. Its results can be used to study the cultural heritage of the Turkic peoples, in particular, in determining the genre and musical style features of folklore works.

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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

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, a truck in 3 hours, a 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.

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.

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

Annex 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

Nadezhda Lisovskaya
Bashkir folklore as a way to develop the speech of preschoolers

Report on the topic:

Teacher - speech therapist: Lisovskaya Nadezhda Anatolyevna

Republic Bashkortostan, Uchaly, MADOU Kindergarten №1 "Chamomile"

Report on the topic:

BASHKIR FOLKLORE AS A WAY OF DEVELOPING THE SPEECH OF PRESCHOOL CHILDREN

A special place in folk pedagogy is given to Bashkir folklore and, first of all, fairy tales, lullabies - small forms of oral creativity. They develop and support joyful emotions in children, form speech skills, moral-aesthetic and artistic-aesthetic qualities.

Nowadays, many books, methodological developments on working with a fairy tale in different age groups are being published. preschool. All of them are aimed at development of children's creative abilities, aesthetic and moral education, acquaintance of children with the culture of different peoples. But when introducing children to Bashkortostan teachers face a number of questions. How entertaining and interesting to tell children Bashkir fairy tale? How

make their soul imbued with the meaning of a fairy tale, understand the life and traditions of the people Bashkortostan. After all, a fairy tale is one of the elements of culture and is based on folk-ethnic culture, on folklore roots.

Children's favorite genre is fairy tales.

Folk pedagogy reflected in fairy tales whole methods of systematic formation of the moral and aesthetic image of a person. Fairy tales instill in children sensitivity, attentiveness, responsiveness, courage, courage, stamina, fearlessness, etc.

Childhood is the time when a genuine, sincere immersion in the origins of national culture is possible.

Reflection of patriotic and international traditions Bashkir the people we find in the rich folklore. Folklore as a historically specific form of folk culture does not remain unchanged, but develops with the people, absorbing everything valuable that existed before, and reflecting new social conditions.

progressive educators (Ya. A. Komensky, K. D. Ushinsky, E. I. Tikheeva, etc.) always believed that the basis of raising children preschool age should lie national traditions. In their opinion, from a very early age, it is necessary to introduce children to the national culture, the people's word.

In recent years, special attention in research has been given to the role of small forms folklore in the education of preschoolers(N. V. Gavrish, G. A. Kursheva, A. P. Ilkova).

The researchers considered the influence of oral folk art on developmentand education of children in different aspects: personal and verbal.

Tikheeva E. I., Shurakovskaya A. A., Alieva S., Shibitskaya A. E. in their studies showed the influence of fairy tales on oral speech development.

Flerina E. A., Usova A. I. characterize oral folk art from the point of view of the moral and aesthetic education of the child.

For centuries Bashkir folklore played and plays a great educational role in the life of peoples Bashkortostan. Baymurzina V. I. notes that folk pedagogy is fully reflected in oral folk art, and Kutlugildina Yu. Z. considers oral folk art to be one of the most effective means in moral and aesthetic education (folk song, lullabies, proverbs, sayings, fairy tales). Itkulova A.Kh. considers the ideological and moral aspect of various genres of folk tales. She talks about the importance Bashkir fairy tales in the spiritual life of people. Akhiyarov K. Sh. believes that folk pedagogical culture Bashkirpeople is made up of elements of folk art: fairy tales, legends, myths, legends, etc. All elements of folk pedagogy are interconnected, complement each other, working deeply in one direction of education. Fairy tales, proverbs, sayings are more manifested in moral education, riddles - in mental education, songs, dances - in aesthetic education, and games and fun - in physical education.

Bashkir a fairy tale instills in children from an early age love for their land and their people, their good wisdom accumulated over the centuries, their rich and vibrant culture - folklore, art. A fairy tale helps us to revive traditions Bashkir people.

Reflecting on this, we came to the conclusion that theatrical activities based on Bashkir fairy tales. The theater helps development of dance, song abilities, and communication with dolls makes children free, liberated.

Theatrical activity contributes to the development of psychophysical abilities(mimics, pantomimes, speeches(monologue, dialogue, cognitive activity, coordination of movements, assimilation of logical and grammatical structures, expansion of the vocabulary based on materials Bashkir fairy tales.

Usage folklore pedagogy in working with children promotes formation of the basis of personal culture, folk identity This is especially important for children attending special speech groups.

The fairy tales we have chosen have been adapted and tested preschool educational institution No. 14 of the city of Kumertau of the Republic Bashkortostan. Below we consider a number of methodological developments (classes) For preschoolers on oral folk art

Tell me about the doll

Dolls - bibabo serve as a visual aid. The guys consider and describe their appearance, clothes, determine the character, and express actions. Reliance on direct visual perception contributes to the correct speech of the child.

Give 1.1 an example of an approximate description of a doll by a child of a preparatory speech group.

“My doll is a horseman. He has small round eyes. Straight nose. Beautiful brown eyes. He is dressed in a shirt and trousers. Over the shirt is an elegant short sleeveless jacket (kamzul). Dzhigit girded with a narrow belt with a pattern (kaptyrga). On the head is a skullcap decorated with stars and sequins. Soft leather boots on feet (ichigi). Dzhigit and I love to dance. I love him so much".

During the story, the child controls the doll. The doll - horseman accompanies the words of the text with the appropriate movements. The speech therapist completes the child's story. The dance is accompanied Bashkir melody.

guess a riddle

On the preliminary assignment of a speech therapist, children learn several riddles.

At the lesson, they make them to each other with dolls olatai grandfather) and Malay (boy).

For a man - a wing,

For the Sultan - a stigma,

Doesn't get tired in summer

Snow in the winter in the field crumples.

Malay (raises hand): I know! This is a horse.

Talking on the wall, but who is not visible

Malay: - It's a radio. Guessed, because the voice is heard, but who speaks is not visible.

Speech therapist: - Guys, the Malay spoke clearly, did not hurry, so that we could think and guess correctly. His puppeteer, Kirill, taught the olatai to speak so well. Malay, with the help of his puppeteer Sasha, said the answer loudly and clearly, following the first sound in the words - l-l-horse, r-r-radio.

The active speech of the child largely depends on development fine finger movements. Ordering and coherence of speech motor skills of a child - a speech pathologist contribute various small movements of the fingers. This is the reason for the use of theater puppets. "Live Hand".

The features of hand puppets allow a speech therapist to widely use them throughout the entire course of speech therapy classes, including during finger gymnastics. The hero of a fairy tale comes to the children and shows the movements.

Gulkei and chicken

Here Gulkey runs into the yard,

The index and middle fingers move across the table. Slamming the doors.

Clap your hands.

Eat, chicken - pied! - The girl sprinkles millet.

Movement depicting the sprinkling of millet. Help yourself, do not be shy, It is very tasty. A chicken walks around

The palm is horizontal. Pink beak Knock - knock!

Thumb and forefinger

form an eye. Next fingers

overlap each other

in a half-bent position.

Hen says - sister:

Very tasty wheat!

Tapping on the table with each finger. I will give you an egg for every grain.

Hands in a fist, followed by opening the palm of one finger. So, good Gulkei, don't spare me grains.

Stroking each finger of the opposite hand.

When working with children on each bashkir fairy tale, highlighted the moral lesson.

Also, attention was paid development pew and math abilities of children - speech pathologists, their fine motor skills of hands, ethical education. And the central element of the work was the initiation preschoolers speech groups to the culture of the native Bashkortostan.

"HARE AND LION"

Characters

Hare, lion, bear, fox. Scenery: Forest, well. (Voice behind the screen).

Author: In ancient times, a terrible lion lived (a lion roar is heard intermittently). He instilled fear in all the other animals. Tired of the animals to endure the gluttonous lion, and they gathered for advice

(A fox, a hare, a bear appear).

Bear: Let's cast lots every day, whoever it falls on will become food for the lion.

(The animals draw lots, the fox and the bear rejoice, and the hare is sad)

Hare: I'll have to go to the lion. Are we really going to be the lion's prey? You need to come up with some trick to get rid of it.

Fox: (snorting) Are you not the beast that can outwit the lion?

(To the music, the fox and the bear leave, and the hare goes to the lion.)

a lion: (angrily) Your ancestors moved much faster. You were supposed to come to me in the morning, and now it's already lunch.

Hare (scared): I was sent to you for lunch. And for breakfast, another hare was supposed to come to you. Only on the way he met another lion and ate the poor fellow. So I met the same lion on the way here.

"Where are you going?" he asks me and I answer him: "I'm going to my master, Leo".And he was terribly angry at such words and began to growl and tear the ground with his claws.: "Who wants to be the owner of these places?" I barely managed to escape from him, so I was late.

a lion (menacingly): Where does your insolent person live?

Hare: Not far from here, over there.

a lion: Take me to him now, I'll show him who's boss!

(The hare goes ahead, followed by the lion. So they came to some old and deep well).

Hare: At the bottom of this very well, the same lion is hiding.

(Lion looks into the well and roars)

a lion: Indeed, there sits a lion that looks like me. Well, I'll show him! (jumps down the well)

Hare (runs, screaming happily): No more vicious and gluttonous lion!

Working with a fairy tale

moral lesson "Small, yes daring". Cultivating good feelings

What do you like about the rabbit?

Do you think the fox and the bear did the right thing?

Fairy tale and mathematics

With the help of geometric shapes, depict the heroes of a fairy tale (a hare is an oval, a fox is a triangle, a bear is a circle, a lion is a rectangle; a well is a square).

Speech charging

Do proverbs fit the tale "Cheek brings success", "And the strength of the mind is inferior".

A game "Vice versa" (words are antonyms)

A smart hare is a stupid lion A brave hare is a cowardly bear

Etymology of the word WELL Fairy tale and ecology

Why do rabbits have long, fast legs?

Development thinking and imagination

What would you do if you were next to a lion at a well?

Think of how to make friends with the lion and all the animals.

Developing hands.

Make a well using counting folders.

What wild animals are found in the forests Bashkiria?

"A HUNGRY BEAR, A FOX AND A JIGIT"

Characters:

Bear, fox, horseman.

Scenery:

Wood, cart, rope, stake.

(The scene is decorated with green trees. A horseman with a cart appears in the forest, he came for firewood)

(Sounds like bashkir melody, the bear comes out)

Bear A: How long have I not eaten. (grabs a horseman and at this time a fox appears to the music).

Fox: What are you doing here?

Bear (whispering in the ear of the dzhigit): Say that you are collecting firewood here, and put me on the cart. I'll pretend to be dead, and when the fox comes up to me to find out what happened, I'll eat it.

Jigit: Came for firewood. (Knocks the bear into the cart).

Fox: When firewood is put in a cart, they are tightly tied with a rope, let's tie it.

Bear (quietly speaking): That's right, he says.

(Dzhigit tightly ties the bear to the cart).

Fox: When you knit firewood with a rope, you need to tighten it tighter.

(Dzhigit tightens even more that the bear cannot move).

Fox (approaches the bear and laughs right in his face): Here, the owner walked and wandered through the forest, an insidious bear, did not give us life. Now he lay down with firewood in a cart, bound hand and foot.

Fox (referring to the rider): Thick firewood should be chopped with a stake. What are you standing for?

(Dzhigit takes a stake and begins to walk around the owner of the forest, and he roars).

Fox: Now the mighty and fair lion will be the owner of the forest.

Working with a fairy tale

moral lesson

"What goes around comes around"

Cultivating good feelings

I feel sorry for the bear at the end of the fairy tale, and you?

How to help him?

For whom do you rejoice in a fairy tale, and whom do you sympathize with?

Fairy tale and mathematics

Remember 5 stories about the bear. Speech charging

Pick up words - definitions for the word BEAR (hungry, angry, stupid).

Does the proverb fit the fairy tale "The other side will teach the goryunu"

Fairy tale and ecology

Find an extra word by generalizing signs: bear, fox, wolf, dog. hare, hedgehog

Development thinking and imagination

How are fairy tales similar and how are they different? "Bear and bees" And "Hungry Bear, Fox and Dzhigit"?

In which fairy tale does the jigit act better?

Fairy tale develops hands

Using an application - a paper mosaic, depict a bear.

Raising love for the native land

What does a bear eat? (omnivore)

What berries, mushrooms grow in the forests Bashkiria?

What kind of fish is found in the rivers?

name the rivers Bashkortostan. We hope that our material will help

in the work of teachers not only speech groups, but also teachers of mass groups preschool institutions.

LITERATURE

1. Agisheva R. L. Didactic games "I know Bashkortostan» : Educational and practical guide for kindergarten teachers and primary school teachers. - Ufa: BIRO, 2005.

2. Bashkir folk art. Translation from Bashkir.- Ufa: Bashkir book publishing house, 1987. - 576 p.

3. Bashkir folk tales. Tales about animals. household tales. - Ufa: Bashkir book publishing house, 1987. - 120p.

4. Bachkov I.V. fairy tale therapy: Development self-consciousness through a psychological fairy tale. - M. : Os-89, 2001.-144 p.

5. Galyautdinov I. G. Bashkir folk games(in Russian and Bashkir) . Book one. - Ed. 2nd, with rev. - Ufa: Kitap, 2002. -248s.

6. Rakhimkulov M. G. "My love - Bashkiria» . Literary and local history essays. Ufa, Bashkir book publishing house, 1985.

7.Fairy tale as a source of children's creativity: A guide for educators doshk. institutions. / Nauch. Ruk. Yu. A. Lebedev. - M. : Humanite. Ed. Center VLADOS, 2001.

8. Gasanova R. Kh., Kuzmishcheva T. B. folklore pedagogy in education and preschoolers: Guidelines to help educators preschool educational institutions. Ufa - BIRO, 2004. - 70 p.

Bulletin of the Chelyabinsk State University. 2014. No. 26 (355). Philology. Art criticism. 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", seizures (ennengen) who had lost their minds were treated.

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 a narrow, "specialized" sense of it is represented by genres and genre forms, 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). A special part of magical folklore is sentences (atemse), sayings (atem), signs (yrym), interpretation of dreams and events, divination-khynau (by bones, stars, stones) 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 the 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 wagons 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 has no appeal to deities, spirits of diseases and desire to subordinate to one's will. As in the Yakut, Kazakh algys, Evenk algys4, good wishes are poeticized in the Bashkir algysh, the absence 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 the diverse repertoire, conspiracies are presented in the work of F. G. Khisamitdinova “Bashkorttarzshch im-tom kitaba” (“The Book of Bashkir Conspiracies”)8. The 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 been purposefully studying 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 voluminously 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 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 basic principle of the organization of a charmed 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.).