THE ROLE OF POLYTEMBROUS NATIONAL INSTRUMENTAL ENSEMBLES IN COLLECTIVE MUSICAL PERFORMANCE OF RUSSIA IN XI–XIX CENTURIES

Mikhail I. Sharabarin

Mikhail I. Sharabarin — PhD in Art, Honored Culture Worker of the Russian Federation, Associate Professor, Belgorod State Institute of Arts and Culture, Koroleva St., 7, 308033 Belgorod, Russia. E-mail: mixailsharabarin@mail.ru

History of Arts

2017

Vol. 45

Pp. 215-221

April 12, 2017

September 15, 2017

781.8

85.315(2)

As early as the great antiquity, music, performed by polytembrous ensembles, became widespread. The functions of mixed ensembles of folk instruments in Ancient Rus were highly varied, but most of the time folk instrumental ensemble of the XI century performed a leisure function, which was by no means encouraged by the ministers of the church. The most important representatives of national and folklore instrumentalism were scomorokhs (musicians-clowns). For centuries, they remained the main bearers of the oldest cultural beliefs, unswervingly following the traditions of paganism. Collective music playing on Russian folk instruments was indispensable in any festive occasion and at the same time served as an important component of musical and aesthetic decoration of everyday life of the major dignitaries and the kings. It should be noted, that the instrumental composition of such mixed ensembles was very volatile and arose spontaneously. By the middle of the XIX century appears even more eloquent evidence of the activities of mixed ensembles of folk instruments. In a folklore environment, mixed ensembles of this kind, for all the spontaneity of their functioning, became frequent participants of the various rites, ceremonies, calendar holidays.

ensemble, folk instruments, ensemble of folk instruments, poly-timbre ensemble of folk instruments, poly-timbre folk instrumental ensemble.

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