What are the characteristics and styles of Ukrainian folk songs?

Russian art originated in Ukraine ... although Russia now denies it.

Although the following is a bit excessive, the explanation is ok. It introduces the musical characteristics of Russia from ancient times to the present, hoping to satisfy you.

The golden age of Russian music began in 1930s in 19, which marked that the creation of glinka, a pioneer of Russian music, reached a new level, which laid the foundation and pointed out the direction for the development of Russian nationalist music. However, the arrival of this golden age is not accidental. It is the result of the long historical accumulation process on the fertile soil of Russian national music, the development of church professional music and the creative exploration of a series of senior composers. In order to correctly understand the achievements of Russian nationalist music, it is necessary to review its formation and development.

Rich folk music treasure

The Russian nation belongs to a branch of the Eastern Slavic nation. Her history of civilization originated from the life of primitive tribes in Eastern Slavic. Russian people have a tradition of singing and dancing since ancient times, and have accumulated rich folk music treasures. The oldest music is the "ritual songs" related to idolatry in clan society, which can be divided into two categories: "ritual songs" and "family ritual songs" because of the different idolatry. The former is closely related to the agricultural labor that depends on the weather, showing the worship of the sun and nature; The latter is closely related to the wedding and funeral etiquette of the tribe, which shows the commemoration of the clan ancestors. These ritual songs are part of primitive religious activities and have the characteristics of dramatic performances. The melody range is very narrow, mostly three-degree intervals, and occasionally it expands up or down by one degree. Music has the nature of recitation. Examples handed down to this day are "Ah, we are waiting for the Meat Festival" and "Well, godmother, let's get married".

With the passage of time, the development of production and the gradual diversification of labor methods, there has been a "labor song" accompanied by various labor methods. For example, there are "sowing songs", "harvesting songs" and "harvesting songs" related to agricultural labor. Related to animal husbandry labor is Pastoral; Related to coolie labor are Song of Handling and Song of Pulling Fibers. This kind of songs has a strong sense of rhythm and powerful melody, which embodies the collective will and action of the working people. Representative songs include "wooden stick" and "Volga boatman's song".

11-16th century, with the growth of Russian national strength, "epic songs" were widely circulated, including "heroic songs" and "historical songs". Singing by folk rappers, the content is mostly legendary stories about ancient heroes. The characteristics of this kind of songs are: deep and solemn melody, leisurely rhythm and heroic and brave temperament of men. The works "On Volga and mikula" and "Like Kiev" handed down to this day are vivid examples.

Life songs that reflect people's daily life and folk customs are indispensable companions. They are cradle songs, children's songs, wedding songs, dance music, waltz, crying and so on. These songs have distinctive national characteristics and rich flavor of life, reflecting people's thoughts and feelings. Examples are the cradle song "Ah, Shake, Shake, Shake", the wedding song "The bells in Novgoro Town Ring", the dance music "I Dance with Mosquitoes" and the waltz "Hey, there is a little bodhi tree in the field".

Lyric songs occupy a large proportion in Russian folk songs, which express love and pour out feelings to nature. Among them, the most distinctive is the "Long song" formed in16-17th century. Singing by women, there are both single voices and multi-voices (two or three voices). This kind of multi-voice has the characteristics of supporting polyphony of voice or lining cavity. This kind of songs have beautiful melody, free and slow rhythm, frequent alternation of big and small modes and delicate expression. Examples include, there is more than one path in the field, down the mother river of the Volga River, the little girl walking through the grassland and mud, the last moment of parting, etc.

Most of the above songs are produced and sung in rural areas, which can be collectively called rural songs. /kloc-since the 0/8th century, with the rise of cities, there have been "city songs" that reflect the lives of urban people. Some are variations of rural or foreign songs, and some are created by citizens themselves. Typical styles are romantic, narrative, waltz, March and so on. These songs also have Russian national characteristics. Romance and waltzes are mainly circulated among intellectuals and citizens, while marches are mostly sung among soldiers, workers and students. Different from rural folk songs, urban songs are often accompanied by simple musical instruments (guitar, lyre or accordion), including multi-voice duet and chorus, and single-voice solo. Since the end of 18, the typical characteristics of urban songs are the adoption of new-style poems with regular alternation of heavy syllables, the synchronization of words and songs, and the regular rhythm of melody. Examples are in a flat basin, fires in Moscow, and so on.

From the 1920s of 19, Russia experienced three revolutionary movements, which left a distinct mark on music and gave birth to "revolutionary songs" with far-reaching influence on Russia and the world. Most of these revolutionary songs are rewritten with the melodies of popular Russian rural folk songs, urban songs and foreign songs, and a few are completely new creations. These revolutionary songs are widely spread in Russia and abroad, which embodies the people's struggle for freedom and liberation and the establishment of a new life. Representative songs include: Our Motherland is in Suffering (Ci by Kaqinning), You and I are Spiritual Brothers (Ci by Pleshev), Comrades, March Forward Courageously (Ci by Larkin) and so on.

Russian folk music is rich in folk instrumental music besides folk songs sung by human voices. The Russian nation has created its own unique musical instruments since ancient times, including plucked instrument Gusri, bowstring instrument Gudok, clarinet Dudka, flute Suo Beier, bugle Rogge, Gunnar Cray and so on. Modern popular national musical instruments include Balalaika, a triangular plucked instrument, and Bayan, an accordion with buttons. Folk instrumental music played by folk artists includes solo, ensemble and ensemble. Folk instrumental music is often accompanied by singing and dancing, and there are also widely circulated independent instrumental music, which often has the characteristics of variation and dazzling skills. Such as Kamalinskaya and Grazing Tune.

(2) The development of Russian professional music before glinka.

The beginning of Russian professional music can be traced back to the period when Christianity (Orthodox Church) was introduced into Russia from Byzantium at the end of 10. Music plays an important role in church activities. Church songs are the only professional music style recorded and circulated in written form in ancient Russia. The recorded symbol is called "Nevme Me", which only represents the general direction of melody movement and the duration of rhythm, but does not represent the accurate pitch. This symbol is called "flag or hook symbol". Church songs written in this notation are called "flag songs". This kind of melody and notation originated from Byzantium has been influenced by Russian folk songs for a long time and gradually gained new characteristics. Originally, the scope was narrow and the recitation was strong. Later, the range was expanded and the singing skills were enhanced. In the16th century, the "flag song" finally had the unique style of the Russian nation. 17th century, notation was further reformed and improved. The single-voice flag song evolved into a multi-voice "Paltiel Song". This is an unaccompanied multi-part chorus, which not only expresses religious content, but also often permeates secular lyrics. Its musical style is gorgeous, similar to the Baroque style of architecture and plastic arts at that time. From the end of 17 to the middle of 18, composers who wrote such songs included Jitov, Kalashnikov, Bavykin, Lednikov and so on. /kloc-In the second half of the 0/7th century, a multi-part song named Kanter appeared, which was freely played with religious content at first, and then directly used lyrics of love or humor. During the reign of Peter I, Cantor with the nature of ode was widely circulated.

From the end of 17 to the beginning of 18, professional music was no longer monopolized by the church. In secular theaters, palaces and aristocratic courtyards, music has become the entertainment and pastime of the public. Western European-style orchestras and opera houses have appeared in society, and operas and concerts have also begun to be staged. In addition, the musical life of well-off families has also developed. In 1930s, the Italian Opera House attached to the Tsar's court was established, and then the French Opera House was added. Galluppi (Galluppi, 1706- 1785), Traetta (Traetta, 1727- 1779) and Paiziella (Paxillo,1740-/kloc-0). Besides drama, it also performs opera and ballet. The Stone Theatre in Petersburg (the predecessor of Kirov Opera and Dance Theatre today), some provincial capitals' theaters, and even some serf theaters in aristocratic landlords' estates have also staged operas or musicals.

At the end of 18, under the influence of the Russian Enlightenment, a number of composers emerged, forming Russia's own school of composition, gradually replacing the position of hiring foreign composers. Representative figures are: sokolovski, berezovsky, Boltlansky, Paschievich, Fu Ming, Makinsky, Khandoshkin, etc. Their creative characteristics are: paying special attention to the theme of Russian folk life, deliberately using Russian folk songs, and striving to make their works have certain national characteristics. Their creative style is the most concentrated in opera. Representative works include: sokolovski's Grinder-Wizards, Liars and Matchmakers (1779), Makinsky's and Paschievich's One Good Will Be rewarded (also known as St. Petersburg Shopping Center, 1782), and Fu Ming's Coachman (1788). In the field of chorus, Baldryansky and berezovsky's religious and secular works have reached a considerable level, which also absorbed some Russian and Ukrainian folk songs. In the creation of indoor instrumental music, Khandoshkin's violin solo sonata and variations on Russian themes are the most representative. In addition, lyrical and romantic "Russian songs" began to prevail in the music life of citizens, and Dubyanski and kozlowski were the outstanding representatives who created such songs.

/kloc-At the beginning of the 0/9th century, Russian music entered a new stage, and some composers showed romantic tendencies in their creations. Shown in the theme of opera, it prefers fairy tales and folklore, pursues gorgeous stage effect, and the music is full of sentimental sentiment. Representative works include: davydov's Lestat, water sprite on the Dnieper (1805), and Russian Italian composer Cabos's Iliad Warrior (1806). Romantic tendency is more prominent in music creation after 1930s, and Wilstovsky's opera Tomb of Askold (1835) is a clear example. In addition, in the indoor sound music of Arya Bev, Varamov and Guriev, the romantic thoughts of dissatisfaction with reality, loneliness and happiness, and fantasy of a bright future are integrated with the simple urban lyric song style.