Introduction

Chapter I. The theory of genre classification of works of folklore 12

1.1. Definition of the concept of "genre" and its features in folklore 12

1.2. Varieties of genre classification of musical and poetic folklore 20

1.2.1. Combining works of folklore by type of poetry: epos, lyrics, drama 21

1.2.2. Ritual and non-ritual genres 26

1.2.3. On the role of folk terms in the genre classification of musical and poetic folklore 30

1.2.4. Types of genre classification based on different criteria 34

Chapter II. Sources on the genre classification of the musical and poetic heritage of the Bashkir people 39

2.1. Questions of genre classification in the works of researchers of Bashkir folklore in the last quarter of the 19th century 40

2.2. Genre classification of Bashkir oral-poetic and musical creativity in the works of scientists of the first half of the XX century 46

2.3. Publications in the field of Bashkir folklore of the second half of the XX - early XXI centuries 50

Chapter III. Ritual genres of the musical and poetic heritage of the Bashkir people 69

3.1. Calendar ritual folklore 71

3.3 Children's ritual folklore 78

3.4. Bashkir wedding folklore 83

3.5. Funeral lamentations of the Bashkirs 92

3.6. Recruitment songs-lamentations of the Bashkirs 95

Chapter IV. Non-ritual genres of the musical and poetic heritage of the Bashkir people 100

4.1. Labor songs 100

4.2. Lullabies 104

4.3. Cubaiers 106

4.4. Munazhat 113

4.5. Bytes 117

4.6. Lingering songs "ozonkyuy" 124

4.7. Fast songs "kyskakuy" 138

4.8. Takmaki 141

Conclusion 145

List of used literature

Introduction to work

Folk art is rooted in the invisible past. The artistic traditions of early social formations are exceptionally stable, tenacious and for many centuries to come have determined the specificity of folklore. In each historical epoch, more or less ancient, transformed, and also newly created works 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 by oral means. Thus, the peoples retained in their memory everything that meets their vital needs and moods. This was also inherent in the Bashkirs. Their spiritual and material culture, inextricably linked with nature, and a rich 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, tradition, song, instrumental melody. The ban on the performance of any traditional song genre associated with the name of the national hero gave rise to new musical genres. At the same time, the names, functional and musical-stylistic features of the songs could have been changed, but the theme that excited the soul remained a source of national inspiration.

Bashkir oral-poetic and musical folklore includes a variety of epic monuments ("Ural-Batyr", "Akbuzat", "Zayatulyak and Khyukhylyu", "Kara-Yurga", etc.), songs, legends and traditions, bylichki - khurafati hikaya, poetic competitions - aytysh, fairy tales (about animals, magic, heroic, everyday, satirical, novelistic), kulamasy-anecdotes, riddles, proverbs, sayings, omens, harnau and others.

The unique song heritage of the Bashkir people is made up of cubaiers, labor songs and choruses, calendar songs of the annual agricultural

circle, lamentations (wedding, recruiting, funeral),

lullabies and wedding songs, lingering songs "ozon kyuy", fast songs "kyska kyuy", bytes, muzhaty, takmaki, dance, comic, round dance songs, etc.

The national tools of the Bashkirs include peculiar,

popular to this day: kurai (kurai), kubyz (kumy?), string 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 trends and the intelligentsia. V.I. Dahl, T.S. Belyaev, R.G. Ignatiev, D.N. Mamin-Sibiryak, S.G. Rybakov, SI. 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 to a beauty, wildflowers - With with her eyes, with the color of her dress, etc. The motives of the Bashkir songs are mostly sad, but melodic; the 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-style features.

The relevance of research. The dissertation is based on knowledge of folklore and ethnomusicology, which allows the study of song

genres of Bashkir folk art in the relationship between music and words. The melodiously recited genres - kubai, bytes, munazhaty, senlyau, khyktau, songs-lamentations of recruits, as well as songs with a developed melody - "ozon kyuy", "kyska kyuy", "takmaki" and other genres are considered separately, which makes it possible to consider songwriting of the Bashkirs in its diversity.

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

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

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

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

allocation of priority directions in the study 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 musical and stylistic features of certain song genres of Bashkir folk art.

Methodological framework The dissertation was based on fundamental works of domestic and foreign scientists devoted to the genre nature of works of folk art: V.Ya. Proppa, V.E. Guseva, B.N. Putilova,

Chekanovskaya A.I. Musical ethnography. Methodology and methodology. - M .: Sov. composer, 1983 .-- P. 57.

N.P. Kolpakova, V.P. Anikina, Yu.G. Kruglova; research by theorists of musicology: L.A. Mazel, V.A. Zuckerman, A.N. Sokhora, Yu.N. Tyulina, E.A. Ruchevskaya, E.V. Gippius, A.V. 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, R.A. Iskhakova-Wamba, M.G. Kondratyev, 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, ST. Rybakova, SI. Rudenko), Bashkir philology (A.N. Kireeva, A.I. Kharisova, G.B. Khusainov, M.M.Sagitov, R.N. Baimova, S.A. Galina, F.A. A. Sultangareeva, I.G. Galyautdinov, M.Kh. Idelbaev, M.A.Mambetova and others), Bashkir folk music (M.R.Bashirova, L.N. Lebedinsky, M.P. Fomenkova, Kh. S. Ikhtisamov, F.Kh. Kamaev, R.S. Suleimanova, N.V. Akhmetzhanova, Z.A. Imamutdinova, L.K.Salmanova, G. S. Galina, R. T. Galimullina, etc.).

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

The material for the dissertation was:

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

3) archival materials stored in the National

library to them. Akhmet-Zaki Validi, in the folklore rooms 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. Rakhimova, H.F. Akhmetova, F.Kh. Kamaeva, N.V. Akhmetzhanova and others.

In accordance with the tasks set forth structure of work, including an introduction, four chapters, a conclusion, a list of used literature.

In the introduction, the purpose and objectives of the research, the methodological basis, scientific novelty and practical significance of the dissertation are indicated.

The first chapter reveals the specific features of the works of oral song and poetry, their social significance. Folk forms of creativity (unfixed - stored not as material objects, but in the memory of the bearers of the tradition) at a certain stage of development were formed into types of arts (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 studies, meaning "a way of depicting reality", distinguishing three major directions: epic, lyric, 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 piece of musical and poetic art. This problem has been comprehensively studied both in theoretical musicology (L.A. Mazel, V.A.Tsukkerman, A.I.Sokhor, Yu.N. Tyulin, E.A. , 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, conditions of existence, structure of poetics, attitude to music, methods of performance) form a genre cliché, on the basis of which

the classification of folk songs is under construction.

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

by type of poetry (epic, lyric, drama);

in folk terminology ("ozon kyuy", "kyska kyuy", "khamak kyuy", "halmak kyuy");

by functional characteristics (ritual and non-ritual genres) of folk music;

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 characteristics that make up the artistic form of song genres.

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

Song genres of a lyrical kind reflect the psycho-emotional state of a person. Lyric songs 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 represents a synthesis of types of arts and includes song genres, accompanied by theatrical, ceremonial

and choreographic action.

Classifications of vocal

genres based on common folk terms. For instance, "Oh $ he qw",

"Kbiqxaqw "- among the Bashkirs and Tatars, "Kay" and "Schyr" - among the Kazakhs,

instrumental / gas and song "B / p" - y Kyrgyz, "Eitesh" - at Bashkir,

Kyrgyz, Kazakhs, "Kobayyr" - at Bashkir, "Dastan" - at Uzbeks, Kazakhs, Tatars.

This classification played a significant role in the formation of folklore studies 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, Ya.Sh. Sherfetdinov), chronological (A.S. Klyucharev, M.A. Muzafarov, R.A. Iskhakova-Wamba), 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 provides an analysis of handwritten 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 the chapter structure allows us to trace in the works of local historians, historians, philologists and musicians the degree of elaboration of the problem in the sphere of the genre nature of the song culture of the Bashkir people.

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 and everyday function, is divided into two large groups. In accordance with this, separate ritual (calendar, children's, wedding, funeral, recruiting) and non-ritual genres (kubai, bytes, munazhats, lingering and fast songs, takmaks) are considered.

This classification allows you to explore the rich

song folklore of the Bashkirs in close connection with social and everyday life, to reveal the drama of rituals, to substantiate the current folk terms ("ozon kyuy", "kyska kyuy", "khamak kyuy", "halmak kyuy", "takmak", "harnau", " khyktau ", etc.), as well as to analyze the musical structure of vocal genres.

In custody of the dissertation, the results of the study of the genre nature of the traditional song art of the Bashkirs are formulated.

Scientific novelty of the dissertation thing is

various types of classifications in the field of Bashkir folklore (according to the types of poetry; according to folk terminology; according to functional, chronological, regional, musical and stylistic characteristics) are considered, and on their basis an attempt was made to independently study the genre nature of the song and poetic creativity of the Bashkirs;

The research carried out makes a certain contribution to the development of the genre classification of the musical folklore of the Bashkir people.

Practical significance the work lies in the fact that the materials of the dissertation can be used to create generalizing works in the field of Bashkir song folklore; for the study of 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", "Folk-expeditionary practice", "History of Bashkir music", etc.), read in the system of secondary and higher musical education in the Volga region and the Urals.

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

The English word "folk-lore" is translated into Russian as "the wisdom of the people", "folk knowledge", national science. The term was proposed by the scientist V.I. Tomsom in 1846 as a definition of the spiritual culture of the people and to designate the works of oral and poetic creativity. The science that studies this area of ​​research is called folkloristics.

Domestic science, considering traditional vocal genres, refers to their main features: oral life, collectivity of the creative process, multivariance of embodiment. Works of musical and poetic creativity are disseminated only by word of mouth from one performer to another, which makes it possible to ensure the continuity, continuity of the collective creative act. Academician D.S. Likhachev, considering this phenomenon, pointed out that "in folklore works there can be a performer, storyteller, storyteller, but there is no author or composer in him as an element of the artistic structure itself." The noted feature suggests variability of interpretation. Passing from mouth to mouth, changing the time and place of existence, the works of folk musical creativity underwent more or less significant transformations due to their improvisational nature.

In addition, folklore has a social value, manifested in its cognitive, aesthetic, ideological and educational values. However, not all works are truly folk. V.P. Anikin argues that "folklore can only be called a work that has acquired content and form in the process of life among the people - or as a result of repeated acts of retelling, singing ...".

The morphological structure of folklore is also peculiar, the specificity of which lies in the ability to combine the signs of several types of art: music, poetry, theater, dance.

In domestic science there are different opinions about the scope of the concept of "folklore" and its structure. Some scholars believe that it includes types of arts that have a materially unfixed form of imagery: V.E. Gusev, V. Ya. Propp, S.N. Azbelev. Another group of researchers argues that it absorbs materially loose (music, literature, choreography, theater) and materially fixed types of art: M.S. Kagan, M.S. Kolesov, P.G. Bogatyrev.

According to M.S. Kolesov, for example, works of folk art necessarily carry a practical function determined by the material side of life. It follows from this that architecture, fine and decorative-applied arts, with a broad interpretation of the word, also belong to folklore.

However, when considering the song genres of folklore, one should pay attention to the materially non-fixed forms of art.

So, M.S. Kagan believes that folklore has two types: "musical" and "plastic" (or "technical"). They are heterogeneous and include different forms of creativity: verbal, musical, dance [PO]. V.E. Gusev claims that folklore is syncretic.

One gets the impression that folklore is a historically passing art. However, this can be refuted based on the duration of its existence along with professional art. At the same time, folk forms of creativity at a certain stage of development, having overcome syncretism, acquired independence, formed into separate types. And each of them can reflect reality by specific means peculiar only to him. For example, prose is realized in oral poetry, textless music - in musical folklore, ornamental dance - in folk choreography.

According to M.S. Kagan, materially non-fixed types of art differ according to the principles of speciation: 1) the form of existence (temporal, spatial and spatio-temporal); 2) the material used (word, sound, plastic, etc.); 3) the type of sign system (figurative and non-figurative).

In this case, the types of folk art ("musical", "plastic" and "syncretic") do not correspond to the principles put forward by M.S. Kagan, since these include forms of folk art that have different temporal and spatial-temporal characteristics, using a variety of materials, as well as pictorial and non-pictorial types of the sign system.

It should be noted that the criterion of syncretic nature of the types of folk art proposed by philologists also cannot be considered as the only possible sign of the morphology of folklore, because syncreticism is also found in professional creativity. Such examples abound in materially fixed and non-fixed types of art: cinema - in the professional, architecture - in folk art, theater and choreography - in professional and folk art. Their difference is manifested, according to A.S. Sokolov, in the nature of synthesis. Primary synthesis - in folklore, secondary - in professional art (return to syncresis or the stage of new synthesis). Consequently, syncretism is one of the features of folklore, but not its morphology.

Questions of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century

In the second half of the XIX century. the interest of local historians, philologists, ethnographers and musicologists in the rich culture of the Bashkirs, in the problem of fixing and systematizing samples of folk musical creativity, has increased. Early scientific research in the field of Bashkir folk music was associated with the names of the historian-folklorist R.G. Ignatiev, collectors of Bashkir and Tatar folk songs G.Kh. Enikeeva and A.I. Ovodov, Russian musician and ethnographer S.G. Rybakov.

In 1875, in the "Notes of the Orenburg Department of the Russian Geographical Society" (issue 3), an article by the archaeologist, ethnographer R.G. Ignatiev was published "Legends, fairy tales and songs preserved in the manuscripts of the Tatar script and in oral retellings among the Mohammedan foreigners of the Orenburg province" ...

The work is interesting, on the one hand, as a historical and ethnographic study of the region, and on the other, it is important for the study of the musical and poetic folklore of the Bashkirs. It retells the content of the songs. R.G. Ignatiev was the first among researchers to make an attempt to determine the musical and poetic features and genre varieties of Bashkir folk songs. The material for the article was the samples of Bashkir folk songs recorded by R.G. Ignatiev in Troitsk, Chelyabinsk and Verkhneuralsk districts. Expeditions were carried out by order of the Orenburg department of the Russian Geographical Society from 1863 to 1875.

Of the unpublished handwritten materials of the late 19th century, the collection of the Orenburg teacher G.Kh. Enikeeva "Old Bashkir and Tatar songs (1883-1893)".

As the musicologist L.P. Atanov, while traveling around the Volga region, the Urals, Kazan, Orenburg, Samara, Ufa provinces G.Kh. Enikeev memorized tunes, recorded texts, stories and legends of songwriting, and A.I. Ovodov gave lectures to them.

Subsequently, 114 entries by G.Kh. Enikeeva and A.I. Ovodova were edited by the folklorist-composer K.Yu. Rakhimov. So, in 1929, a handwritten collection was compiled, which included, together with 114 notations by A.I. Ovodov, 30 records of drawn-out folk songs performed by G.Kh. Enikeev and iotated K.Yu. Rakhimov. The work was being prepared for publication in Bashknigtorg.

Classification of songs by G.Kh. Yenikeeva is carried out taking into account national, thematic and melodic characteristics. According to the first, ethnicity, the collection contains Bashkir, Tatar, "Meshchera", "Tepter", "Turkic" songs.

According to thematic and melodic characteristics, the songs are divided into nine "categories" (ie genre groups): 1) old lingering mournful ones, including historical ones; 2) especially popular everyday songs; 3) popular love songs; 4) wedding songs; 5) ditties (takmaki); 6) songs of praise; 7) satirical songs; 8) soldiers' songs; 9) religious and folk songs 4.

However, in the introductory article of the collection by G.Kh. Yenikeyev added an independent group of songs called "Plowman's Songs, Labor Songs."

For the convenience of reading the musical material, the author proceeds from the principle of combining national and genre characteristics. For example, the collection contains: Bashkir folk songs - 34, Tatar - 10, "Tepter" - 1, including from 10 wedding Tatar songs - 8, "Meshchera" - 1, "Tepter" - 1, etc.

Justifying this division, G.Kh. Enikeev and K.Yu. Rakhimov point out that "when all the melodies were divided into groups by nationality, it was necessary to classify these melodies according to their content into groups in order to determine how many and what varieties are in the collection for each nationality."

According to the system of G.H. Enikeeva, not all previously noted genre groups are provided with specific musical examples. So, three "categories" are attributed to Bashkir folk songs (lingering, everyday, love). In the section of Tatar folk songs, these "categories" have been added: wedding, praise, satirical, soldier's songs and ditties (takmaks).

Religious and folklore songs (bytes, muzhaty) are classified as "Turkic". About this group of songs by G.Kh. Yenikeev wrote: “These poetic and poetic works in their content and character, as they are also set forth in the Turkic language with an admixture of Arabic, Persian words, are completely different both in the melody and in words from the songs of the Bashkirs and Tatars given in my collection, and therefore I think it would be more expedient, if you wish, to publish them in a separate issue. "

Proposed by G.Kh. Enikeev's classification attracts by the genre variety of the collected material and the use of various principles of systematization. In the collection, folklore genres are distinguished according to thematic, aesthetic and social characteristics. The collector also selected the most common songs of the end of the 19th century: "old lingering mournful", "especially popular everyday", "popular love" "categories" and ditties.

It should be noted that the names of the songs given in the table of contents of the collection by G.Kh. Enikeeva, written in Latin and Arabic letters 5.

The joint work done by G.Kh. Enikeeva, A.I. Ovodova and K.Yu. Rakhimova in the field of collecting, studying and promoting Bashkir and Tatar folk melodies has not lost its significance today.

Among the researchers of the Bashkir musical folklore of the late 19th century, the work of the Russian ethnographer, musician S.G. Rybakov "Music and songs of the Ural Muslims with an outline of their way of life" (St. Petersburg, 1897). It was the only publication in tsarist Russia dedicated to Bashkir folk music.

Calendar ritual folklore

Historical data on the calendar rituals and holidays of the Bashkirs are contained in the works of Ibn-Fadlan (921-923), I.G. Georgi, I.I. Lepekhina, S.G. Rybakov. Of particular interest are the works of scientists of the beginning and the second half of the XX century: SI. Rudenko, N.V. Bikbulatova, S.A. Galina, F.A. Nadrshina, L.N. Nagaeva, R.A. Sultangareva and others.

As you know, the calendar cycle of rituals reflected the annual change of seasons. In accordance with the season, this cycle was divided into spring-summer and autumn-winter ceremonies, and the boundaries between them were conventionally designated by the periods of the winter and summer solstices.

The holiday "Nardugan" ("Nardugan") was called among the Bashkirs, Tatars, Mari, Udmurts - "Nardugan", Mordovians - "Nardvan", Chuvashes - "Nardvan", "Nartvan". The word "nardugan" means the Mongolian "naran" - "sun", "birth of the sun" or indicates the Arabic origin of the root "nar" - "fire".

Winter holiday"Nardugan" began on December 25 and lasted for seven days. Twelve girls, symbolizing twelve months of the year, organized games in a house specially designated for the holiday and on the street. Participants brought gifts and presents with them. It was considered a prerequisite to express good wishes to each other. In the summer "Nardugan" from June 25 to July 5, it was not allowed to cut cattle, cut wood, mow grass, that is, to have any negative impact on nature. For the holiday, seventy-seven kinds of flowers were collected and lowered into the river, waiting for the safe arrival of summer. New Year's holiday "Nauryz" ("Nauruz") was celebrated on the day of the vernal equinox from March 21 to 22 and had "points of contact with the archaic rituals of the peoples of the East." In "Nauruz", young people, under the leadership of one of the senior organizers, walked around the courtyards, collecting cereals for a joint meal, gifts for the winners of sports competitions, as well as competitions of singers, instrumentalists and sesens. The blessing of an elderly person (fatiha alyu) was also important for the villagers. The most ancient folk holidays of the Bashkirs were called: "Rook porridge", "Feast of rooks", "Kukushkin tea", "Saban water" and others. The return of birds to their native lands was marked by the rituals "KapFa butkahy" ("Rook porridge") and "KapFa tui »(" The Rooks' Festival "). The names of the rituals are based on a combination of words: "kapFa" - crow (rook); "Bugka" - porridge, "tui" - wedding, feast, holiday, celebration. According to R.A. Sultangareeva, the etymology of the word "tui" means a celebration in honor of nature and man. Hence it follows that the "Kargatuy" holiday should be understood as a symbol of "the birth of a new natural phase."

The organizers and main participants were women, girls and children. This showed the echoes of matriarchy in the social structure of the ancient Bashkirs. The architectonics of spring folk holidays is of the same type and consists of the following stages: 1) collecting cereals in courtyards; 2) decorating trees with colored ribbons and scraps of fabric (suklau - make a tree branchy); 3) preparation of ritual porridge from collected cereals; 4) a joint meal; 5) holding games and competitions, driving round dances, performing ritual songs and dances; 6) feeding the birds with ritual porridge. "Treats" were laid out on leaves and stones, they were coated with tree trunks. The ritual actions of the participants in the ceremony were accompanied by the performance of exclamations, cries, calls and good wishes (ken toroshona telekter).

In the cry-cry "Crane" elements of imitation of bird voices are conveyed by short motivational constructions based on iambic rhythmic grids, consisting of a combination of short and long beats: JVjJPd, 12 With the melodious intonation of the cry-cry, the last syllable is emphasized in the word.

The end of the sowing work was accompanied by rituals designed to influence the phenomena of nature with the help of conspiracies, sentences, the performance of chants and the reading of prayers: "Pouring water", "Sabanian water" or "Rain porridge", "Expression of wishes", "Summon fire from the tree" ...

The ritual "Summon fire from the tree" (arastan ut CbiFapbiy) was carried out in the summer in a dry year. A maple crossbar was installed between the two posts, which was once wrapped with a rope. The participants in the ceremony, grasping the ends of the rope, alternately pulled it towards themselves along the crossbar. If the rope began to smolder, then rain was expected for seven days. Or the ceremony was repeated anew.

The most ancient calendar holidays "Iiyin" and "Maidan" were of great importance in the social structure of the Bashkirs. The etiquette of the holidays required the obligatory invitation of guests, and their drama included: 1) preparation of the square, fundraising; 2) the organization of sports competitions; 3) a joint meal, treating guests; 4) performances of folk singers, instrumentalists, dancers; 5) evening games for youth. Outwardly similar in the form of holding the holidays, they differed in their functional purpose. "Maizan" ("maidan" - square) is a holiday of the onset of summer. "Yiyin" 14 (meeting) is the name of a large meeting, a congress of tribes and clans, at which important political and economic issues were discussed, national competitions were held, games and traditional competitions of kuraists and singers took place.

Labor songs

One of the oldest genres of oral musical and poetic folklore are labor songs, choruses, (hezmat, kasep YYRZZRY hdM

Yamaktara). Performed in the process of labor activity, to achieve a "working rhythm". The functional significance and organizing role of these genres were considered by Russian researchers: E.V. Gippius, A.A. Banin, I.A. Istomin, A.M. Suleimanov, M.S. Alkin and others. German musician Karl Bücher in his work "Work and Rhythm" (Moscow, 1923) noted that "where a large number of people get together to work together, there is a need to organize, streamline their actions. " The area of ​​labor songs and chorus can be conditionally divided into three groups: 1) songs-choruses, organizing the labor process, requiring from workers simultaneous effort, rhythmically organized action (mill builders, timber rafters, and others). 2) songs performed in the process of labor. This group is usually called "songs dedicated to work", since they reflect "not so much the nature of work, but the mood of the performers (those who participate in it) in the context of their way of thinking and attitudes." 3) labor songs of certain professions: shepherd, hunting, carpentry, songs of woodcutters, lumberjacks and others.

Thus, the main function of labor songs is to organize work, and joint singing serves as a means of increasing its intensity.

A distinctive feature of labor songs are various intonational and verbal exclamations, shouts: "pop", "eh", "uh", "sak-suk", "tak-tuk", "shak-shuk", etc. Such command words convey "the most expressive expression of labor tension and its release."

It should be noted that the exclamation "pop" is not an artificially attached component that expands the volume of the melody (up to 3 measures), but a necessary element of the musical structure, since the melody ends on the main pentatonic scale (f). The poetic text uses a parallel rhyme (aabb), a four-line stanza has an eight-syllable structure.

During the ritual "Tula 6aqt iy" ("Making felt"), the hostess laid out wool on a flat plane. The rest of the participants covered it with a large piece of cloth and rolled it into a roll. The wrapped felt was then rolled for two hours. In the second part of the rite, the felt was cleaned of fine woolen pile and dipped in running water and hung up to dry. Upon completion of the work, the owners of the house treated the assistants. Making felt required great physical efforts from the participants, so all stages of work were accompanied by comic songs and dances.

One of the most ancient genres of Bashkir oral and poetic creativity is kobayir (kubair). Among the Turkic peoples (Tatars, Uzbeks, Turkmens, Tajiks), the heroic epic is called dastan, among the Kazakhs - dastan or song (zhyr), among the Kirghiz - dastan, epic, epic poem19.

As scientific research shows, the more ancient name of the epic legends of the Bashkir people is associated with the term “ulen”, and later “kubair”.

According to F.I. Urmancheeva, the terms "dastan" and "kyissa" are borrowed from oriental literature and are used "to denote the epic genre of literature and folklore."

In the works of the Bashkir poet-enlightener, researcher and local historian of the XIX century M.I. Umetbaeva, under the term "9LEN," epic works performed in a chant are denoted. In particular, in 1876 M.I. Umetbaev wrote: “Ulen is a legend, that is, an epic. However, since the time of the consolidation of power and the close relationship of the Bashkirs with neighboring peoples, the songs "ulena" have taken shape in four-line rhymes. They sing about love, praise and gratitude to the guests ... ”. Confirming what was said, the researcher in one of the publications gives under the definition of “ancient Bashkir ulens” an excerpt from the epic legend “Idukai and Muradym” 20.

Previously, this term was used by local historian M.V. Lossievsky. In one of his works, he mentions the existence of “ulenov” in Bashkir folklore studies, along with legends and legends. The scientist folklorist A.N. Kireev suggests that the term was borrowed from Kazakh folklore.

In Bashkir literature and folklore, the poetic part of the epic legend was originally called kubair, in some regions called irtyak (plots with a predominance of fairy-tale elements). The word "kobayir" is formed from the confluence of the words "koba" - good, glorious, praiseworthy and "yyr" - a song. Thus, "kobayir" is a song that glorifies the homeland and its batyrs.

In Russian folklore, there is no consensus about the time of the emergence of epic monuments: kubayirs and irtyaks. Researchers A.S. Mirbadaleva and R.A. Iskhakova-Wamba, associate their origin with the period of the tribal society. However, A.I. Kharisov attributes the emergence of epic legends "to the times preceding the Mongol conquest of Bashkiria, to the period when the signs of feudalism began to manifest themselves clearly among the Bashkir tribes ...". The impetus for the creation of kubaiers was the historical need to unite disparate tribes into a single nationality with a common economy and culture.

Interesting is the statement of G.B. Khusainov about the time of creation of epic monuments of the Bashkir people. In particular, he points out that “... in the Kipchak, Nogai tribes of the Turkic peoples, the concept“ yyr ”meant the now used“ epic ”. Kazakhs, Karakalpaks, Nogais still call their national heroic epics "zhyr", "yyr".

It is possible that in the Nogai period (XIV-XVI centuries) the Bashkirs under the term "yyr" meant epic works, and therefore their performers were popularly called "yyrausy", "yyrau".

An early thematic classification of the works of the Bashkir epic belongs to A.N. Kireev. The scientist, proceeding from the subject matter, divided the heroic epic into Irtyaks about batyrs, Irtyaks, who set the people up against the conquerors, and everyday Irtyaks. Researcher A.S. Mirbadaleva groups epic legends according to "the most important stages in the development of public consciousness of the Bashkirs": 1. epic legends associated with the attitude of the ancient ancestors of the Bashkirs: "Ural Batyr", "Akbuzat", "Zayatulyak and Khyukhylu"; 2. epic legends about the struggle against foreign invaders: "Ek Mergen", "Karas and Aksha", "Mergen and Mayankhylu", and others; 3. epic legends, depicting tribal strife: "Babsak and Kusyak" and others; 4. epic legends about animals: "Kara yurga", Kangur buga "," Akhak kola ". Legends related to common Turkic epic monuments stand apart: "Alpamysha and Barsynkhylu", "Kuzyikurpes and Mayankhylu", "Takhir and Zukhra", "Buzeget", "Yusuf and Zuleikha".

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

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Municipal budgetary educational institution of additional education for children, the palace of children and youth creativity "Orion" GO Ufa RB.

Research.

Musical culture of Bashkortostan.

Completed by: Shutanova Ksenia Dmitrievna

Pupil of the "Learning to play the violin" association

Head: Kudoyarova Alfiya Askhatovna.

Ufa-2014

Introduction.

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

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

Chapter 1 Musical creativity of the Bashkirs.

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

Chapter 2 Bashkir folklore: Irtek and Kubair.

Song-poetic folklore of the Bashkirs, preserved from ancient times, with all its diversity of genres and forms, forms two large groups that have much in common.
One of them includes works of folk art with a predominance of textual, poetic principles. The musical side, if present in them, plays a more or less subordinate role. This group includes the ancient legends "Kuziy Kurpes and Mayan Khylu", "Alpamysha and Barsyn Khylu", "Akbuzat" and others in the form of irteks and kubaiirs.
When performing a folk epic, some musical and poetic patterns are caught. The developed, poetic text of the kubayirs "affects" in a singsong voice. The rhythm of the short, recitative structure of the melody of Kubair is subordinated to the metric of the seven-syllable "Kubair verse".
Byte (bayet) became a later epic-poetic genre. Initially, this was the name of poems of book origin, which have settled in the memory of the people and passed from mouth to mouth.
Later, bytes began to be called a poetic work of the oral tradition, which is based on a significant, most often dramatic, plot that tells about a historical or everyday event, about bright, heroic personalities.
Unlike the genres of irtek and kubair, which in modern conditions do not develop (not a single irtek and kubair on a modern theme has been recorded), a byte-living viable form of epic that is actively developing. We can say that he, in essence, absorbed the functions of the irtek and kubair, became a living modern form of the folk epic. Folklore expeditions annually record more and more new bytes on the theme of the civil war, partisan movement, World War II.
Bytes, like kubair, are performed in a chanting recitative, but the tunes are more varied and individualized, based on a certain melodic cell

Chapter 3 Bashkir folklore: historical songs and tunes.

Another vast group of Bashkir folklore, embracing all aspects of folk life, is formed by musical genres. These are primarily historical songs and tunes. They were formed as a genre during the heyday of the traditional Bashkir epic, incorporating many features of epic forms. In a number of texts of historical songs, in legends to instrumental tunes, there are themes, images, artistic and structural features of Kubair's verse.
Historical songs about the fate of the people, about the unity of tribes and clans, about the perniciousness of ruin and civil strife, about the defense of the homeland are associated with the heroic epic ("Ural", "Semirod", "Iskender", "Sultanbek", "Boyagym Khan"). By the legends to the songs, as well as by their specific historical content, one can judge the time of the emergence of a number of songs. For example, the legend-song "Ural" says that the song was composed in honor of the return of the Bashkir ambassadors from the Russian Tsar Ivan the Terrible.
Not later than the 18th century. a new layer of historical songs appears, in which the patriotic theme of the homeland and national unity is intertwined with angry motives of protest and the struggle against oppression and colonization (see the songs "Ruin", "Coloi Canton", "Tevkelev", etc.). The lyrics and melodies of such songs are full of drama. They depict the images of the oppressors and rapists of the people, express the people's hatred.
The theme of homesickness was reflected in the historical songs of this period. The heroes of the songs are quite real people, who remained in the memory of the people as courageous, disobedient to the authorities, sufferers for a just cause ("Buranbai", "Biish", etc.).
The military theme is also characteristic of Bashkir historical songs, revealing itself widely, from various sides. Her vivid images "Kutuzov", "Lyubizar", "Squadron", "Second Army" - about the participation of the Bashkirs in the Patriotic War of 1812; "Port Arthur" - about the Russian-Japanese war; "Tsiolkovsky" - about the hapless and cruel military commanders of the Bashkir troops (XIX century).
Historical song is an actively developing genre that reflects the most important points history of the Bashkir people. There are songs about the events of the First World War, about the revolution, the civil war, about the memorable days of our reality.

Chapter 4 Folk songs and rituals of the Bashkirs.

A wide and varied layer of folk songs is associated with life and everyday life, with labor processes. There are whole cycles of songs about a horse, about hunting, about a shepherd's life. (Songs and tunes "Kara Yurfa" - "Black pacer", "Saptar yurfa" - "Playful pacer", "Burte at" - "Karak horse", "Alkhak kola" - "Lame gray horse", "Yulfotto hunarsy" - "Hunter Yul got-to", "Irenek" (the name of the mountain), "Ak yauryn sal berket" - "Golden eagle with white shoulders and a gray head", etc.).
The everyday rituals of the Bashkirs are also rich in songs. The most developed, colorful wedding ceremony has long been. It is distinguished by its great originality, and many of its features remind of deep antiquity. Ethnographers refer to the period of the disintegration of the tribal system such elements of the Bashkir wedding as the payment of kalym, the secret visit of the bride by the groom, the election for the bride kiematlek esei, kiematlek atay (the bridegroom's intended mother and father), throwing the young in the morning after the wedding in a stream of silver coins, etc. e. Songs are an integral part of the Bashkir wedding. Wedding song genres include senlyau (senleu - lamentations, crying), calf (telek - wish the young all prosperity), hamak (hamak - wedding recitative), festive, drinking songs sung at a wedding feast (tuy yyry, mazhles yyry).
The songs "Crow's Porridge" and "Crow's Holiday" are associated with spring ritual games. There are large cycles of songs and tunes about rivers, streams, lakes. Many of them probably date back to the time when the Bashkirs had a cult of nature and animals. You can at least refer to the songs "Zayatulyak", "Agidel", "Irenek". The circle of songs dedicated to mountains, valleys, images of sounding nature, and birds is widened. Many of them are lyrical in nature, and the images of nature in them push back psychological moments, human moods. Such are the songs "Kurtash" (mountain), "Mountain song", "Cuckoo", "Burenushka", "Ringing crane" and many others.
Lyric songs are rich in subject matter and genre shades. Among them there are peculiar "valiant songs", revealing the world of thoughts and feelings of a Bashkir traveler, horseman, reflections of an experienced person who has seen a lot in life. These include the songs "Life Passed", "Traveler", "Ilyas", "Azamat".
An independent group is composed of lyric songs about girls and women. Such as "Tashtugay", "Salimakai", "Zulkhizya", "Shaura" represent the classic images of the Bashkir lyrical melos. Love lyrics are highly developed in Bashkir music. Love songs are distinguished by chastity, poeticization of the feeling of love and its carriers.
Among everyday songs, drinking, guest songs, songs on comic and satirical plots, as well as dance songs are widely represented. An independent group is composed of lullabies and songs for children. At the end of the XIX century. the so-called songs of zimogors appeared, reflecting the work and life of the Bashkirs working in trades, factories and plants.

Chapter 5 Instrumental folk music of the Bashkirs.

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

Conclusion.

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

I would like to believe that we are on the right track!

Bibliography:

1. Bashkortostan. Brief Encyclopedia, ed. RZ Shakurova Ufa, publishing house: "Bashkir Encyclopedia", 1996.
2. Essays on the culture of the peoples of Bashkortostan. Compiled by Benin V.L. Ufa, publishing house: Kitap, 1994
3. Website on the Internet: http://lib.a-grande.ru/music.php

Nadezhda Lisovskaya
Bashkir folklore as a way of developing speech in 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 METHOD FOR DEVELOPING THE SPEECH OF PRESCHOOLERS

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 and aesthetic and artistic and aesthetic qualities.

Nowadays, many books are published, methodological developments on working with a fairy tale in different age groups preschool... They are all aimed at development of creative abilities of children, aesthetic and moral education, acquaintance of children with the culture of different nations. But when meeting children with Bashkortostan a number of questions arise before teachers. How entertaining and interesting to tell children Bashkir fairy tale? How

make their souls 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.

The favorite genre of children is fairy tales.

Folk pedagogy reflected in fairy tales whole methods of systematic formation of the moral and aesthetic appearance of a person. Fairy tales educate children in sensitivity, attentiveness, responsiveness, courage, courage, fortitude, 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 people we find in the rich folklore. Folklore as a historically concrete form of folk culture does not remain unchanged, but develops together with the people, absorbing everything of value that existed before, and reflecting new social conditions.

Progressive educators (Ya.A. Komensky, K. D. Ushinsky, E. I. Tikheeva, etc.) have always believed that parenting is based on preschool age should lie national traditions... In their opinion, from a very early age, it is necessary to familiarize children with the national culture, the vernacular.

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

Researchers looked at the impact of oral folklore on developmentand raising children in different aspects: personal and speech.

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

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

Over centuries Bashkir folklore played and plays a great educational role in the life of peoples Bashkortostan... Baimurzina 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 effective means in moral and aesthetic education (folk song, lullabies, proverbs, sayings, fairy tales)... Itkulova A. Kh. Examines the worldview 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 Bashkirof the people consists of elements of folk art: fairy tales, legends, myths, legends, etc. All elements of folk pedagogy are interconnected, complement each other, deeply working in one direction of education. Fairy tales, proverbs, sayings are more manifested in moral education, riddles - in mental education, songs, dances - in aesthetic, and games and fun - in physical education.

Bashkir fairy tale instills in children with early years love for his land and his people, his good wisdom, accumulated over the centuries, his rich and lively 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... Theater helps development of dance, song abilities, and communication with dolls makes children free, liberated.

Theatrical activity promotes the development of psychophysical abilities(facial expressions, pantomimes, speeches(monologue, dialogue, cognitive activity, coordination of movements, mastering logical and grammatical structures, expanding the vocabulary based on materials Bashkir fairy tales.

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

The fairy tales we selected were adapted and tested preschool educational institution number 14, Kumertau Republic Bashkortostan... Below we will consider a number of methodological developments (classes) for preschoolers on oral folk art

Tell me about the doll

Bibabo dolls serve as a visual aid. The guys examine and describe their appearance, clothes, define their character, and transform their actions. Reliance on direct visual perception contributes to the correct speech of the child.

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

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

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

guess a riddle

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

In 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 is crushing in the field in winter.

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

Talking on the wall, but who is not visible

Malay: - This is a radio. I guessed it, because the voice is heard, but who is speaking is not visible.

Speech therapist: - Guys, the Malay spoke clearly, he was in no hurry so that we had time to think and guess correctly. The puppeteer, Kirill, taught him to speak so well. Malay, with the help of his puppeteer Sasha, loudly and clearly said the answer, following the first sound in the words - l-l-horse, rr-radio.

The child's active speech largely depends on development fine movements of the fingers. The ordering and consistency of the speech motor skills of the child - speech pathologist contribute to various small movements of the fingers. This is the reason for the use of theater puppets. "Living hand".

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

Gulkey and chicken

Gulkey is running into the yard,

The index and middle fingers of the hand move around the table. Slamming the doors.

Clap your hands.

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

Movement depicting sprinkling with 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 the eye. Next fingers

overlap

in a bent position.

The hen says - sister:

Delicious millet!

Each finger of the hand is tapping on the table. I will give you an egg for every grain.

Hands into a fist, followed by opening the palm of one finger at a time. So, good Gulkei, You don’t regret the grains for me.

Stroking each finger of the opposite hand.

When working with children, over each Bashkir-pi fairy tale, have highlighted a moral lesson.

Attention was also paid development pew and math abilities of children - speech pathologists, their fine motor skills of hands, ethical education. And the central link in 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, there was a terrible lion (the roar of a lion is heard periodically)... He instilled fear in all other animals. Tired of the animals to endure the gluttonous lion, they gathered for a council

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

Bear: Let us cast lots every day, on whom it falls will become food for the lion.

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

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

Fox: (snorting) Aren't you 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 should have come to me in the morning, and now it's dinner.

Hare (scared): I was sent to you for lunch. And for breakfast, another hare was supposed to come to you. Only on the way did he meet another lion and ate the poor fellow. So I met that very 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 earth with his claws: "Who wants to be the master of these places?" I barely managed to escape from him, that's why I was late.

a lion (menacingly): Where does your impudent live?

Hare: Not far from here, over there.

a lion: Take me to him now, I will show him who is the boss!

(The hare walks in front, followed by a lion. So they came to some old and deep well).

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

(The lion looks into the well and growls)

a lion: Indeed, there is a lion sitting here that looks like me. Well, I'll show him! (jumps into the well)

Hare (runs, shouting joyfully): No more angry and voracious lion!

Working with a fairy tale

Moral lesson "Small, but daring"... Fostering good feelings

How did you like the hare?

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

Fairy tale and mathematics

Using geometric shapes, depict the heroes of the fairy tale (hare - oval, fox - triangle, bear - circle, lion - rectangle; well - square).

Speech charging

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

The game "Vice versa" (words are antonyms)

Clever hare - stupid lion Brave hare - cowardly bear

Etymology of the word WELL Fairy tale and ecology

Why hare long, fast legs?

Development thinking and imagining

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

Figure out how to make friends between the lion and all the animals.

We develop hands.

Use the counting daddies to make a well.

What wild animals are found in the forests Bashkiria?

"HUNGRY BEAR, FOX AND JIGIT"

Characters:

Bear, fox, horseman.

Scenery:

Forest, cart, rope, stake.

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

(Sounds Bashkir melody, the bear comes out)

Bear: How long I haven't eaten. (a horseman grabs and at this time a fox appears to the music).

Fox: What are you doing here?

Bear (whispers in the djigit's ear): 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.

Dzhigit: I came for firewood. (Knocks the bear into the cart).

Fox: When they put the firewood in the cart, they tie it tightly with a rope, let's tie it up.

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

(Dzhigit tightly ties the bear to the cart).

Fox: When knitting firewood with a rope, tighten it tight.

(The horseman pulls on even more so that the bear cannot move).

Fox (goes up to the bear and laughs right in the face): Here, the owner walked around the forest, the insidious bear did not give us a livelihood. Now he lay down with wood in the cart, bound hand and foot.

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

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

Fox: Now a mighty and just lion will be the master of the forest.

Working with a fairy tale

Moral lesson

"What goes around comes around"

Fostering good feelings

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

How can I help him?

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

Fairy tale and mathematics

Think of 5 fairy tales about the bear. Speech charging

Find words - definitions for BEAR (hungry, angry, stupid).

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

Fairy tale and ecology

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

Development thinking and imagining

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

In which fairy tale does the horseman act better?

Story develops arms

Using a paper mosaic applique, 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 are found in rivers?

What are the names of the rivers Bashkortostan... We hope our material will help

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

LITERATURE

1. Agisheva R. L. Didactic games “I learn Bashkortostan» : Study 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... Fairy tales about animals. Household tales. - Ufa: Bashkir book publishing house, 1987. - 120s.

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

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

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

7.Fairy tale as a source of children's creativity: A handbook for educators doshk... Institutions. / Scientific. Hands. Yu. A. Lebedev. - M. : Humanist. Ed. Center VLADOS, 2001.

8. Hasanova R. Kh., Kuzmischeva 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 BASHKIR: SPECIFICITY AND MYTHORITUAL FEATURES OF THE REPERTOIRE

The place, functions of genres of magic folklore in the system of traditional culture are considered; history of study. 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: magic folklore, conspiracies, chants, 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 it. The word was the main tool of all life, including obtaining, health protection, as well as the achievement of good luck and the development of creative talents. The magic of the word acquired artistic functions in epics, fairy tales, legends, songs, traditions, proverbs, baits, munajats, responding to the aesthetic and spiritual needs of the people. Words that have practical goals, special functions and goals of influence form a conspiracy-incantatory repertoire of addresses as sacred ways of contact with deities, supernatural forces and the elements of Nature. The creators and transmitters of this secret knowledge to generations were especially gifted people with extraordinary abilities to master the Word, action, melodies, body movements and the system of ancient teachings, the chosen ones, that is, shamans, the Bashkirs have bucks, like the Kazakhs, Kyrgyz, and Turkmen1. Created over the course of centuries of service to fellow tribesmen, the unique creativity of Baksy provides for a syncretic unity of mythological, cult, totemistic 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 bucks is revealed - to establish contacts with higher, heavenly forces, propitiate deities, whose patronage contributes to the healing of the sick, favorable

changes in the weather, the expulsion of the spirit of trouble 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 the materials shows, is distinguished by a pronounced rational and intellectual principle, the dominant nature-worshiping motives, the degree and proportionality of actions and words.

The genres of folk art, based on the sacralization of words, body movements, elements, objects, as well as targeted uses of mythological, supernatural knowledge, aimed at ensuring the well-being and protection of the physiological and spiritual forces of the ethnos, are magical folklore. In a broad sense, the magic principle 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 deities, the forces of Nature, the propitiation of the spirits of ancestors, batyrs (demiurges) and the acquisition of well-being. The process of transferring ancient knowledge as generic values ​​had its own strict standards and prescriptions. So, the telling of fairy tales (ekiet), karhYZ (myth, epic among the Bashkirs) during the day or in summer provokes a very cold and prolonged winter (Beloretsk district, Zuyak village), is fraught with the wrath of powerful spirits, severe drought ( Akyar; Beloretsk district, village Birdigulovo), incorrect performance of the ritual (yola) - prolonged rains up to floods or epizootics (Abzelilovsky district, village Askarovo; Kugarchinsky district, village Khudayberdino). The verbalized myth and ritual, in their existence, act as primordial forms of regulating life events, health and art. At one time, by telling the karkhYza myth "Ural-batyr"

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 time factors embedded in them, centuries-old continuous cultural tradition and powerful intellectual potential of generations.

Magical folklore in its narrow, "specialized" understanding is represented by genres and genre forms, functionally related to their intended use in rituals, medical, sacred acts. For example, in a state of deep stress, women who were speechless were taken out into the field and beaten on their cheeks, forcing them to scream, while uttering special words, doing body movements (Zianchurinsky District, 1998); the evil eye, snakebite, corruption, etc., were spoken with a recitative-singing word. This fund of archaic knowledge, having disowned ritual complexes, survived in time and practice of use due to the formularity of word forms and thought forms, a long need for practical application and the continuity of the creativity of folk professionals - healers, seers, bucks. This repertoire includes prose and poetic conspiracies (arbau), chants (satafyu) of rain, wind, kut, sun, etc., harnau (appeals to the spirits of ancestors, the forces of Nature, deities). A special part of magical folklore is made up of sentences (eitemse), sayings (eitem), omens (yrym), interpretation of dreams and events, fortune-telling-hynau (by bones, stars, stones) methods of folk treatment (im-tom), mainly functioning in the unity of words , actions 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 the study, in addition to descriptive ones, cannot provide objective scientific generalizations.

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

the patient is dressed in old clothes, comes to "sessions" hungry, before and after not to tell anyone about the purpose (the results of healing, all the more so) of his visit. In the complex, manipulations with objects act, 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 in terms of the severity of the ailment) rods across the road, sanctifying them with prayer - this is how an invisible border is laid between this world and the other. Knowledge about the spirit is noteworthy: for example, the parts of the body (nails, hair, etc.), which are the keepers of the partial soul, "carry away" diseases, and the deadly symbolism of broken things provokes, according to the logic of the magic of similitude, the same effect; Wednesday in popular beliefs is considered an auspicious day for healing acts. The semantic world of medical culture, thus, absorbs the most ancient knowledge, realities, which gained effective experience during centuries of practice. Algysh (good wishes) and kargysh (curses) have a conspiracy in nature, in their origins they provide 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. A telek (calf) as well-wishes is the same as Algysh, with the difference that the condition for the pronunciation of calves in the past was associated with sacrifices and even replaced it. The northeastern, eastern Bashkirs still retain the custom of "calf salu".

The ideological concept of imperative appeals of all forms (conspiracies, spells, algyshes, etc.) goes back to the idea of ​​the presence of a "master" of spheres, diseases, natural elements, and so on. Eye (owner, owner) among the Bashkirs is consonant, co-semantic with Altai, Kalmyk “ezi”, Buryat “ezhin”, Yakut “icchi” 2. Success in achieving a goal (conspiracy of illness, fishing, hunting, spells of animals, calls of the elements, etc.) depends on the skill and art of appeasing the "owners" and establishing "agreements" with them that require special sacrifices and the correct use of objects, actions, words with taking into account generic, local traditions.

Algysh - for magical purposes, texts pronounced in an incantatory form, ado-

dyat to the ancient Türkic ata "bless" 3 and are aimed at increasing productive forces, relieving fear and solving certain problems.

Ideological and functional designs of useful magic are predetermined by the depth of knowledge, the level of natural or hereditary talent, the ability of a person to be included in the movements of the world, to cause the protection of deities. In appeals to the heavenly Tengri, the spirits of the masters of forests, fields, rivers, the four elements - water, fire, earth, air - and in wishes, the magic of an expensive word is used. In sowing work, algysh is pronounced - good wishes, the harvest is called upon:

Er! Er! Er! Land! Land! Land!

Kesets bir! Give me strength!

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

Etmesh arba ethen bir, Give me seventy carts of flax,

Bir! Bir! Give! Give!

Algyshes, uniform in design and different in functional purpose, contain good wishes, requests for assistance in successful hunting, travel, fishing, etc. (pronounced before traveling, work, marriage). However, in algysh, unlike arbau, harnau has no appeal to deities, spirits of diseases and a desire to subordinate to one's will. As in the Yakut, Kazakh Algys, Evenk Alga4, in the Bashkir Algysh, well-wishes are poeticized, the general is the absence of hyperbolization and idealization, the depiction of the result (Don'yats matur bul'yn! Kotlo bul'yn yortots!).

Creativity associated with the magic of the word permeates the entire life of the Bashkir, the basic principles of life history of which 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 person of the genus, bucks (imse, lynsy, arbaus), the works were formed as cultural texts of magical purpose. The origins of creation and functioning go back to the deep antiquity of traditions, in the center of which the bucks (shaman) and his talent and purpose appear.

The genres of magical folklore of the Bashkirs (conspiracies, spells) became the object of scientific attention in the 19th century. In the writings of A. Inan, conspiracies of snakes and birds of prey are described5. Classifying these genres of Bashkir folk art, one of the first folklorists G. Vildanov classifies them as "im-tom" (folk treatment) and "ishanyu" (beliefs), gives samples of conspiracies of diseases of the auricles (tatrans), mentions invoking a cat (well-being ) and treatment of traduction (eisen) 6.

The variety of diseases, ailments, and troubles that occur or the need to regulate labor and life concerns determine a multi-component repertoire of conspiracies, 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 disease (conspiracies of a snake, dog, evil eye, fever, etc.), the need to restore health (caring for a child in the absence of speech, walking, illness, and so on), settling labor and household concerns. The conspiracies are presented in the most systematic way, completeness of descriptions of the diverse repertoire in the work of FG Khisa-mitdinova "Bashkorttarzshch im-tom kitaby" ("The Book of Bashkir conspiracies") 8. The magical folklore associated with traditional health care norms is divided into two large parts: 1) conspiracies of childhood diseases; 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 intrigues of unclean forces). In studies that fragmentarily cover the issues of magical folklore, the place and reflection of conspiracies in fairy tales9, prohibitions10, as well as the peculiarities of being in time and preservation in folklore memory11 are noted.

The scientific and theoretical aspect of the study and coverage of the specifics of the conspiracy repertoire is found in numerous works of folklorists, linguists, ethnographers, according to the profiles of sciences, revealing the features of a complex type of traditional culture. A classification of conspiracies 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 forces, 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 shamanic, ritual complexes, the ancient origins, functions, semantics are investigated, the peculiarities of the mythopoetics of conspiracies are revealed16. Some poetical and stylistic, functional and thematic features of conspiracies, forms of creativity of baksa (shamans) 17 are studied, principles and basic motivations, functional features of magical texts are revealed18. In numerous works of the ethnographer Z.I. Minibayeva, who has been purposefully researching this problem for many years, the system of this knowledge is restored from the perspective of a comprehensive historical, ethnographic, typological characteristic of the activities of healers, folk 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 excursion shows that a comprehensive study of magical folklore in the interconnection and syncretic unity of anthropological, ethnographic, linguofol-cloristic systems, covering the ritual integrity and specifics of the architectonics of therapeutic acts, has not yet been done. Because the spell-casting 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 folkloristic approach provides for complexity, when no one 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 intelligent knowledge of ancestors, encoded in texts, not only in physiology, psychology and human anatomy, but also in 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 the Nostratic origins, the deep archaism of the arbau (conspiracy) genre, which is the main genre in magical folklore, “ascending to the general and main meaning of“ conjuring ”” 20 is noteworthy. The functional orientation of the arbau in the Altai, Indo-European, Uralic languages ​​is associated with the idea of ​​magical influence, has the goal of "plotting evil against someone, being in ambush, using magical powers" 21. In this context, the main feature of the conspiracy that is distinguishable from other genres of magical folklore is manifested - a strong-willed psychotropic influence on an object, the elimination of evil by appeasing the patron spirits and attracting special secret knowledge and exceptional words.

A conspiracy is a Bashkir arbau, a ritual-magical text created in the process of centuries of creativity in order to suppress the will of someone and obedience, to change the course of events, set in motion with 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 word, action, and singing. Unlike arbau, aimed at weakening the will and influence of hostile, pathogenic, also invisible and visible forces, harnau also has an appeal to the spirits of ancestors, natural forces. In the Turkic-speaking sphere, “Sarn” means the song of a shaman, conspiracies of corruption, snakes, calls of the wind22 and is consonant with the Bashkir harnau, pursuing 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 the arbau, all conspiracies (partly invocations) are presented as follows: 1. An appeal to the helper-spirit and calling by name: “Hey spirit! Spirit of water! " Or: “Korkot ata! Help! " 2. Providing information about yourself (bucks declares his personality, opportunities): “I swam the Irtysh! I Idel swam across! " or "You are a snake, I am a snake stronger than you!" 3. The expression of the will of the reasons that forced to turn to God

stam or description of the disease. "From that (name) person, the soul flew away" or "On that (name) there is an evil eye. We must treat him. " 4. Request and a specific description of the purpose of the appeal: “Bring back the kut! Bring back your strength! " or "Cure the hernia!" 5. Volitional influence in order to chase the evil: "Where it came from - go there!", "Who sent - come back to that!" 6. The expected result is given as a fait accompli: “He is healed, healed!”, “Get out, run away, run away! He disappeared into the field, drowned in the water. " 7. The final word "I did not heal - Allah" and the thanksgiving of the spirits, elements, "You - a handkerchief, my health!" In such a structure, an 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 are already in a truncated form, since due to the weakening of beliefs in spirits, the magic of words (body movements, breathing, objects, etc.), conspiracy acts drop out of practice or survive the introduction of Islamic elements. So, the formulas for appealing to spirits, deities are replaced by a request-receipt of the blessing of Allah for conducting healing, healing procedures. “O Allah, with your knowledge and permission I begin treatment (Ye, Allam, hinets rizalygshdan im itam)”; “Man-reason, You are a healer, help me! (Bende-sebeps, Alla-sikhetse! Yar ^ am it!) "(The author's notes in Khaibullinsky, Zianchurinsky, Yanaulsky districts of the Republic of Bashkortostan). In the texts, appeals to the patrons of the clan are dropped and Islamic saints often act. Very rare in conspiracies are the motives of "getting to know" them and presenting themselves, their capabilities. The idea of ​​sacrifice fits into short dresses, like "You get a handkerchief, I get health!" Discourses of magical praise (lure) of the object being spoken have been reduced (“A flowing river is faster than a serpent!”), Or they are absent altogether. These features mark the activities and features of creativity of rural healers imse, arbaus, which are still in almost every locality.

"Professional" healers now follow the rules of healing magic: they tell the patient the time, place of treatment and the rules (come hungry, do not eat meat for 3 days, etc.): they 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

traditions. Cursing the ailment ends with the words of expelling evil forces, and at the end of the session they thank the Almighty and receive hair, dedicate him to the will of Allah, asking for the benefits of treatment. According to the informants, “Ancient man spoke of everything that has a soul. But not everyone is given this gift-craft. Only bucks could spend it ”(Yumash village, Baymaksky district A. Barlybaev, born in 1914, West 1993). “There used to be mighty bucks. Here they shook the world! Sometimes they spoke incomprehensible words, both with melodies and with melodies, jumping, dancing! " (v. Lagerevo, Salavat region, 1994). Bashkir bucks (ba "kshy, bagyus, bagyms) - shamans are the creators of harnau and arbau, they had remarkable willpower, voice, extraordinary abilities bestowed upon them by inheritance. (Due to the limited volume of the article, these testimonies, collected by the author for many years, are mentioned only fragmentarily.) The creativity of the Bashkir baksy (shamans) dates back to ancient times, is associated with nature worship, pagan traditions and the ability to establish contacts with the elements with the help of the Word. bucks made are captured in the repertoire of magical folklore: these are conspiracies of animals, snakes, the names of the Sun, rainbows, rains, etc. connections and artifacts that have long been lost in other cultural texts.

Notes (edit)

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 Tunguska-Manchurian languages ​​/ otv. edited by V.I. Tsintsius. T. 1.L., 1975.

4 Ertyukov, V. I. The era of paleometals in the North-Eastern Arctic and its role in the genesis of the indigenous peoples of the North // Languages, culture and the 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 khaliktarynyts donyaga borongo dini karashy // Bashkort aimags. 1926. No. 2. B. 27-38 (ger. Gr.).

7 Bashkort Halyk Izhady. Yola folklore / Tez., Bash hYZ, adzlatmalar auth-ry. E. M. Seleimenov, 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 // Materialdary Expedition - 2006: Buraevsky district. Ufa, 2008.239 p.

10 Gaisina, FF Prohibitions as a folklore genre in the traditional culture of the Bashkirs: auto-ref. dis. ... Cand. philol. sciences. Kazan, 2013.27 p.

11 Yuldybaeva, G.V. Hezerge bashkort khalyk izhadynda im-tom // Bashkort folklore hezerge torosho. Efe, 2012.S. 156-163.

12 Galin, S. A. Bashkir folk epic. Ufa, 2004.320 p.

13 Iskhakova, G. G. Rhythm as the main principle of the organization of the conspiracy text // Ural Batyr 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. Language).

15 Karimova, RN Khalyktyts donyaga karashyn kYrheteYse syganak bularak khalyk medicine and 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 personality, functions and creativity of bagyms. Ufa, 1999.S. 84-107; 2) Arbauzar // Bashkir folklore. Research and materials. V issue. Ufa, 2004.S. 199-215.

17 Baimov, B. S. Creativity bucks // Shonkar, 1993. No. 1. P. 28. (in Bashk. Language)

18 Seleimenov, E. M. Bashkort khalkynyts im-tom hem mezzati yola folklore // Bashkir folklore. Research and materials. Ufa, 1995.

19 Minibayeva, Z.I. Islam and demonological ideas about diseases in traditional medicine of the Bashkirs (based on Kurgan region) // Ethnogenesis. Story. Culture. Ufa, 2011.S. 162-168; Healing conspiracies in folk medicine of the Kurgan Bashkirs and Altai peoples // Ural-Altai: through the centuries into the future. Ufa, 2008.S. 149-153.

20 Nafikov, Sh. V. Tamyry ugata borongo bashkort. Mekeleler yiyyntygy. Efe, 2009.418 b.

21 Dolgopolskiy, A. B. Nostratik dictionariy. Cam-bridqe, 2008.

22 Abylkassymov, B. Sh. Zhauyn shakyru // Izvestiya AN RK (Kazakhstan). Philology. 1992. No. 3. S. 50-54.

1 Tokarev, S. A. (1964) Rannie formy religii i ih razvitie [= 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, VI (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 ^ yts im-tom kitaby, efe. (in Bashk.).

9 Husainova, GG (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, GG (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.).

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16 Sm .: Sultangareeva, RA (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, RA (2004) "Arbaugar", in: Bashkirskij fol "klor. Issledovanija i materialy [= Bashkir folklore. Researches and materials], Issue 5, Ufa, pp. 199-215 (in Russ.).

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The Bashkirs have created a rich folklore. In the works of oral folk art, the views of the ancient Bashkirs on nature, their worldly wisdom, customs, understanding of justice and creative imagination are artistically reflected.

The epos of the Bashkir people originates in the era of decay of the primitive communal system and reaches its fullest development during the period of feudalism, during the period of unification of fragmented clan groups into large clan and tribal unions in the face of foreign invaders. One of the most perfect forms of the Bashkir folk epic was the form of the heroic poem - kubair. Cubai reflected the motives of unification and the idea of ​​forming a single Bashkir nation.

In the legends and legends, passed down from generation to generation, the history of the people, their way of life, customs, and customs are highlighted.

Bashkir fairy tales express national traits, way of life and customs of the people. In fairy tales there are egetes (good fellows) and batyrs (brave warriors). They are good at bowing, that is, they shoot accurately, do good deeds, and help people.

Bashkir tales evilly ridicule the oppressors of the people: padishahs, khans, bays.

Fairy tales tell about the hard life of the poor, orphans, but more often it is funny than sad.

Bashkir fairy tales praise honesty and generosity, stigmatize the cowardice of those who leave comrades in trouble, call for work, study crafts, teach to value and honor old people.

Heroic tales tell about the fight against monsters, about the trials associated with solving difficult problems. Batyr leaves home to see the light, to show himself and to find an application for his powers.

Fairy tales tell about various miracles, animals speak with a "human voice", help in trouble. Magic items can change their appearance and turn into other items.

Everyday fairy tales tell about the life of the people, their daily works and worries, about the relations between people (rich and poor, good and evil, and so on).

Comic tales are imbued with good-natured humor, they usually ridicule stupidity. Often in such tales, the characters are shaitans, devas, witches, who are distinguished by unreasonable cruelty and stupidity.

The Bashkir proverbs and sayings reflect the history of the people from ancient times to our time. For example, the proverb “The crow croaks - unfortunately” is associated with the ancient ideas of the Bashkirs that the crow is a prophetic bird that warns people of danger.

Animation of nature found expression in the saying "Forest - ears, field - eyes". In the proverb “A lonely person can lose his bow, but someone who is with a family will not lose an arrow,” the people express the idea that a person should live in a team. The people condemned biys, mullahs, officials with proverbs: "Do not go to the biy - he will come for you, do not go to the khan - he will come for your good", "Every day is a holiday for the rich, every day for the poor, grief and worries."