Early 20th Century Tatar Gramophone Recording: Ibragim Adamantov
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Abstract
In the beginning of the 20th century one of the frontiers of the cultural life of Russian society were the activities of
gramophone companies. The gramophone record, presenting itself as a new means for disseminating mass information,
reflects the Tatars’ urban musical culture. Up to the present day the early recordings of the first Tatar Up to the present
day the early recordings of the first Tatar performers have remained insufficiently studied. A number of revealed sources
have given the author the opportunity to bring for the first time into scholarly discourse the gramophone recordings
of Ibragim Adamantov – a popular performer of Tatar songs from the beginning of the previous century. Adamantov is
the stage pseudonym of the Tatar journalist, theatrical figure and translator Ibragim Kuli (1885–1936). The stigma of
the “enemy of the people” (he was rehabilitated in 1957) has for many years erased the traces of the artistic activities of
the brilliant representative of the progressive Tatar intelligentsia. Study of Adamantov’s gramophone records becomes
a part of the revival of the good name and artistic legacy of the singer whose voice was recorded by the “Gramophone”
company, the firms “Favorit-rekord” and “Lyrophone.” The artist’s repertoire includes specimens of Tatar solemn
lyrical specimens of Tatar extended lyrical songs and the cult music of Muslims urban songs and couplets. The
introduction of Adamantov’s gramophone recordings into the field of the field of research opens up new pages of the
history of gramophone recordings of Tatar music.
Keywords: Tatar music on gramophone recordings, gramophone record, “Gramophone,” “Zonofon,” “Lyrophone,”
Tatar song, performers of folk songs.
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References
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