Traditions of Performance on the Piano Harmonica (The Lipetsk and Voronezh Regions)
Article Sidebar
Main Article Content
Abstract
The article is devoted to the piano harmonica from the Yelets
Region – a traditional musical instrument, which has received
a wide usage on the territory of the Lipetsk Region and the
northern areas of the Voronezh Region. The piano harmonica
has been preserved in all spheres of artistic activity as the result
of a high quality of production and constructive and timbralregistral
characteristic features that are exemplary for the given
regional tradition. The instrumental, vocal and choreographic
forms comprising the different genres of folk music of the
Lipetsk Region and the northern areas of the Voronezh Region
since the 1930s and up to the present day form the central focus
of the article. The musical tradition demonstrates an immense
diversity of variants of the folk tunes and discloses two genrerelated
groups of folk-tunes: “dance tunes” and “walking tunes.”
Among the instrumental ensembles incorporating the piano
harmonica, special brilliance and expressiveness is characteristic
of the duo of the piano harmonica and the tambourine, which is
immensely popular in the southern areas. In dependence on the
level of mastery of the instrument, two styles of performance
become distinctly visible – “elementary playing” and “playing
with plunks.” “Elementary playing” is indicative in regards to
preservation (or manifestation) of the peculiarities of “traditional,
historical playing” – “the way they played before.” “Playing
with plunks” defines the variants of performing traditional
folk tunes in the interpretation of virtuoso harmonica players,
presenting various techniques of variation. Beginning with the
first models, constructive features have been introduced into the
piano harmonica, defining the technique of performance on the
instrument.
Keywords: the Yelets piano harmonica, folk music of the
Lipetsk and Voronezh Regions, Russian folk tunes, “playing with
plunks”
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Bogina E. G. “Stradaniya na tri chetverti”. Ob odnoy iz neplyasovykh chastushechnykh form Verhnego Podon’ya [“Suffering in Three Quarters”. Concerning One of the Non- Dance Forms of the Chastushkas in the Upper Don Region]. Fol’klor: istoricheskaya traditsiya i sovremennye polevye issledovaniya: mater. Chetvertoy mezhdunar. nauch. konf. pamyati A. V. Rudnevoy [Folk Music: Historical Tradition and Modern Areal Researches. Materials from the Fourth International Musicological Conference in Commemoration of A.V. Rudneva]. Edited and Compiled by N. N. Gilyarova and E. V. Biteryakova. Moscow State P. I. Tchaikovsky Conservatory Press, 2012, pp. 84–91.
3. Bogina E. G. Fenomen “chastushechnogo” zvuka (po materialam Moskovskoy konservatorii 1993–2002 gg. [The Phenomenon of the “Chastushka” Sound (Based on Materials of Moscow Conservatory 1993–2002)]. Zvuk v traditsionnoy narodnoy kul’ture [Sound in Traditional Folk Culture] Moscow: Nauchtekhlitizdat, 2004, pp. 194–208.
4. Vertkov K. A. Russkie narodnye muzykal’nye instrumenty [Russian Folk Musical Instruments]. Leningrad: Muzyka Press, 1975. 280 p.
5. Mekhnetsov A. A. Kirillovskaya garmon’-khromka v traditsionnoy kul’ture Belozer’ya [The Kirillov Accordion- Khromka in the Traditional Musical Culture of Belozerye]. Scholarly Editor I. S. Popova. Vologda: Vologda Regional Scholarly-Methodical Center of Culture and Developing Qualifications, 2005. 220 p.
6. Mirek A. M. Garmonika. Proshloe i nastoyashchee: Nauchno-istoricheskaya entsiklopedicheskaya kniga [The Harmonica. Past and Present: Academic Historical Encyclopedic Book]. Moscow: Muzyka Press, 1994. 534 p.
7. Mirek A. M. Spravochnik po garmonikam [Reference Book on the Harmonica]. Moscow: Muzyka Press, 1968. 130 p.
8. Novosel’skiya A. A. Kniga o garmonike [A Book on the Harmonica]. Moscow; Leningrad: Izdaniye Narkomata Mestnoy Promyshlenosti RSFSR Press, 1936. 92 p.
9. Petrova E. M. Royal’naya garmonika: konstruktivnye osobennosti, traditsionnyy promysel i tekhnologiya proizvodstva [The Piano Harmonica: Features of Construction, Traditional Trade and Technology of Production]. Narodnaya traditsionnaya kul’tura v obrazovatel’nykh programmakh i nauchnykh issledovaniyakh: sbornik mater. Vseros. konf. 2008–2010 godov [The Traditional Culture of Folk Music in Educational Programs and Scholarly Studies: Compilation of Articles from the Russian Conference 2008–2010]. Executive editor I. B. Teplova. St.Petersburg: Publishing Polytechnic University, pp. 576–604.
10. Smirnov B. F. Iskusstvo sel’skikh garmonistov [The Art of Village Harmonica Players]. Moscow: Sovetskiy kompozytor Press, 1962. 171 p.
11. Shchurov V. M. Zhanry russkogo muzykal’nogo fol’klora: uchebnoe posobie [Genres of Russian Folk Music: Tutorial Manual]. In Two Volumes. Moscow: Muzyka Press, 2007. Vol. 1. 400 p.; Vol. 2. 656 p.