About the Dominating Role of One Pitch Structure in the Song Traditions of the Field (Sernur) Mari
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Abstract
of song tunes. Certain particular results in this sphere in relation to the song tradition of the field
Mari have been achieved by scholars in Russia and in other countries. However, many questions
connected with the pitch-related characteristics of the songs in their coordination with the metrorhythmic,
compositional and timbral laws have remained beyond the field of sight of researchers.
The article is devoted to the modal organization of the melodies of the Sernur Mari – one of the
local groups of the field Mari. The foundation for highlighting this subethnic groups among the
other groups of the field Mari was that the traditional culture of the Sernur Mari is distinguished
by a whole set of characteristic peculiarities: the parlance, the complex of costumes, the calendar
cycle, and the musical language. A significant element defining the local style of the Sernur Mari
is the pitch characteristic features of the melodies. The basic element in them is the five-step scale
in the ambitus of a sixth – g-b-c1-d1-e1. The article analyzes the realization of the hemitonic modal
structure in wedding, guest and lyrical songs, differing from each other on the levels of the rhythmic
organization and melodic composition of the songs’ stanzas. The numerous recordings of songs in
various genres made during folk music expeditions and the work on analysis carried out make
it possible to come to the conclusion that the hemitonic modal structure determines the specific
features of the musical culture of the Sernur Mari, distinguishing it from the other local traditions
of the field Mari.
Keywords: the field Mari, the Sernur Mari, the song tradition, pitch structure, hemitonic
pentatonics.
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