Импровизация и варьирование в исполнении бесермянских крезей в традиции и на сцене: исследование первоисточников и творческая реконструкция

Abstract

This doctoral thesis is dedicated to the ancient vocal genre krez’ in the musical tradition of the Besermans – a small Finno-Ugric people living in northern Udmurtia. The main goal of the research is to reveal the improvisational and variational devices used in the traditional performance of the Beserman krez’es and to implement these devices for the creation of the stage versions, which would be in agreement with the spirit of tradition and, at the same time, in compliance with reception by the modern listeners. The question of improvisation and variation in the Beserman krez’es has not been widely studied (Irina Nurieva, Albert Shakhovskoy, Marina Khodyreva), and this research is the first to examine it on the basis of a detailed analysis of a big amount of musical texts. This work is also the first research on krez’ which has a practical artistic orientation. The research is mainly based on the materials collected by the author during fieldwork between 2001 and 2017. The archival materials and published musical transcriptions are also used. The methodology includes both the anthropological and music-analytical approaches such as observation and participant observation, musical transcriptions of sound recordings and comparative analysis of the tune versions. In the creative and practical part of the research, the author uses methods of auto-observation and auto-reflection and proposes a particular method of the creative adoption of the variational resources of the traditional tunes and of the extension of the improvisational and variational possibilities of their interpretation. The dissertation is composed of four chapters. The first examines the theoretic basis of the research and discusses its basic concepts – creativity, variation, improvisation, folklorism – as well as the question of creation of the ‘living’ musical texts on the stage. The second chapter presents the Beserman culture and the tradition of krez’. The third chapter contains an analysis of variation and improvisation in the traditional performances of three tune types of krez’. The fourth chapter is practically oriented and describes the process of creation of the stage versions of the krez’es, analysed in the previous chapter. The appendices to the dissertation contain the analytical tables, the musical transcriptions of the traditional performances, the samples of the author’s versions of the krez’es and the audio recordings.