INTER-ETHNIC COMMUNICATION IN ROUND DANCE-PLAYING TRADITION OF THE UDMURT CALENDAR CIRCLE

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Key words
the Udmurt calendar, round dance-playing culture, inter-ethnic communication, Russian borrowings, verbal and musical texts.
Author
TAT'YANA VLADYKINA SVETLANA TOLKACHEVA
About the Author
Vladykina T.: е-mail: tgvladykina@mail.ru
Tel.: +7 (3412) 68-78-44
4, Lomonosova str., Izhevsk, 426004, Russian Federation
Full Professor (Philology), Udmurt Institute of History, Language and Literature of the Uralic Division, Russian Academy of Sciences
Tolkacheva S.: е-mail: svetlana-tolk@mail.ru
Tel.: +7 (3412) 68-78-44
4, Lomonosova str., Izhevsk, 426004, Russian Federation
PhD (Philology), Udmurt Institute of History, Language and Literature of the Uralic Division, Russian Academy of Sciences
Acknowledgements

This paper is supported by the Program of the Fundamental Studies of the Uralic Division of the Russian Academy of Sciences in 2015–2017, project “The Udmurt Mythology in Historical and Culture Heritage” No. 15-13-6-8.

Body

The article reveals features of round dance-playing culture, appearing in the Kama-Vyatka region to which ongoing conjoint inhabitancy of different ethnic population has been typical for a long time. Thay are exemplified in genre hierarchy of the Udmurt musical-song folklore. Samples borrowed from Russian round dance and hopping songs of the calendar cycle are analyzed in the context of social processes, in particular, the Christianization of the region. Enrichmentof the musical repertoire of calendar rituals by means of borrowed songs has been also supported by internal laws of musical and poetic creativity of the Udmurt people. Russian round-dance and hopping songs form an additional sphere to significant sacred tribal chants existing apart. The phenomenon of the Fenno-Ugric improvised singing is not the less important factor of acculturation. Jointing of several Russian hopping or playing songs or their transformation serve as a basis for Udmurt suite compositions. Musical stylistic of round-dance playing and hopping songs of the Northern Udmurt tradition is characterized by two profiles. One aims at the highest possible preservation of the Russian model, another tends to adjust to melodies, that affect rhythmic transformations. Influence of the Russian round-dance playing culture has got more significant in connection with intense process of Christianization in the region. In accordance with scholarly acquisition of additional materials, the sphere of this phenomenon grows.

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