Municipal budgetary educational institution

Secondary school No. 25

village of Novomalorossiyskaya

- What new have you learned?

-Who did we meet today?

(With wonderful works of poetry, music, painting.)

- What unites Kuban composers, artists, poets? What are their works about?

- Did we complete the classification task correctly?

- Reminders will help you remember what we talked about in class..

Getting ready for class hour, after listening to our Kuban songs, looking at the artists’ paintings, I began to paint a picture and I want to ask you to help me finish it .

- Do you agree?

I have blanks for the details of the painting, let's select everything we need and place them on the canvas together.

(17 slide) Performance creative work(collective poster)

- Let's give a name to our picture (children's suggestions,"Faces of Kuban")

Conclusion: Songs and painting contain the soul of the people; it is in them that different types of art come together. Namely, art helps us immerse ourselves in the world of living history, teaches us to understand the people around us and ourselves. Times change, but a person must always remain a person - sensitive, deeply understanding and believing in his homeland, his people.

RESULT: Today we met some outstanding people of Kuban art who glorified our Motherland far beyond the country’s borders. But in reality there are many more of them. I wish you that in the future you too will take an honorable role in the history of our state.

Masters of words, writing beautiful poems, glorifying their small Motherland. Kuban poets Viktor Podkopaev, Valentina Saakova, Kronid Oboishchikov, Sergei Khokhlov, Vitaly Bakaldin, Ivan Varavva are the pride of regional literature. Each of them has their favorite places. But in the work of this or that author, one feeling that unites them is clearly audible - universal love.

Kuban poets about nature

The Krasnodar region conquered the heart of the poet Viktor Podkopaev once in his youth and forever. For him, the ringing word “Kuban” is like the name of his beloved. The poet dedicated his work to her. His lyrical thoughts and dreams are about her, about Kuban. Having opened a book of his poems, you immediately feel the thick aroma of grain fields, the salinity of the sea waves, and you clearly imagine how nature wakes up.

Dear Kuban region,
You are the pride of all Russia,
Wonderful beauty
Under the blue skies.

Perhaps there is somewhere
Even more beautiful places
But I don't care more
Native Kuban places...

About the Motherland

The poems of Kuban poets seem to be saturated with the warm sun. Born in Rostov, Kronid Oboyshchikov’s whole life is connected with Kuban: here he graduated from school, an aviation school, and from here he went to defend his father’s land. The charming southern pearl of Russia also served as the soil that nourished his bright artistic expression.

The birds of the day fall silent
Crushing against the dusty rays,
The sounds fade and flow down,
Like wax from a melted candle.

The cloud frescoes are darkening,
The starry enamel is becoming clearer.
As a mother in the world, I have no one to compare with,
So there is nothing to compare the Motherland with.

Whatever the poems of the Kuban poets - short or sweeping - they sound, in them one can feel, regardless of the number of phrases, deep respect for the homeland. For many years, Korenovsky poet Viktor Ivanovich Malakhov has been delighting his readers with heartfelt poetry. When you read his poems about his native land, it’s as if you’re walking through the morning dew, admiring the surface of the river, you can’t stop looking at the clouds floating across the dawn dome of the sky.

Historical records

Many Kuban poets came from afar and fell in love with the local land. Lost in the Red Forest and tall meadow grasses of the Smolensk region is the lazy flowing river Bittern Malaya. The future famous Kuban poet Sergei Khokhlov was born nearby. His father moved the family to the fertile Krasnodar region.

In Kuban, Sergei Khokhlov gained experience, human and civic maturity. And the wonderful sounds flew, overtaking each other. About a hard-working father, about a mother, about war, about nature, native fields, rivers, steppes. And, of course, about love. His cycle of romantic poems “Scythians” has a special aura, where the author managed to masterfully convey the conflict between the self-confident ruler of the Persians, Darius, and the freedom-loving, brave people - the Scythians.

Lyrics

Kuban poets are masters of lyrical style, the poems of Vitaly Bakaldin are especially beautiful. He devoted most of his work to his love for the region. His work is imbued with a sense of community with his native land, warmth for people, all living things: grass, trees, water, birds... The poet in his poems infuses the theme of Kuban into the general theme of the Motherland.

I grew up in Kuban,
Our southern regions:
More dear to me, more understandable
The vast steppes...

The poems of Kuban poets seem to be born for song. Ivan Varabbas is a singer of the Krasnodar land. It seems that our generous nature itself put the lyre into the poet’s hands. I want to return to his poems more than once. They charge you with energy, make you think, look around and see how uniquely beautiful our region is.

The works of Barabbas inspire composers, his words were written best compositions about Kuban. The poetic voice of Ivan Varabbas cannot be confused with any other. He rightfully belongs to the leading poets of the region. His work, bright and life-affirming, glorifies this fertile land, the people who inhabit it, unselfish, kind and brave, in love with their grain-growing work.

Kuban poets for children

Kuban writer and storyteller Tatyana Ivanovna Kulik gave everyone vivid impressions of her childhood - fairy tales told by her mother, hereditary Cossack Efrosinia Tkachenko. She wrote many wonderful books for children:

• “Cossack Tales” are amazing fairy-tale events that happened to our distant ancestors during the settlement of the fertile Kuban lands, decorated with authentic folk Cossack songs.
• “Tales of the Caucasus” - pages of fairy tales of the Caucasus: Adyghe, Chechen, Abkhaz, Abaza, Lak, Karachay, Circassian, Ingush, Kabardian, Balkar, Ossetian, Nogai, Avar, Lezgin, Don and Kuban regions. They absorbed the customs and wisdom of the mountain peoples.
• “The Land of Fairy Tales” - the life of the characters in the multinational land of fairy tales is filled with funny miracles, funny, sometimes dangerous adventures, the wisdom of old age and the mischief of childhood, true friendship and the happiness of meetings.

Anatoly Movshovich is a famous Kuban poet, author of several books for children, member of the Union of Russian Writers. The writer is well versed in child psychology and knows how to view the world through the eyes of a child. His poems are very spontaneous, filled with humor and musicality. The poet writes in the language of children: understandable, easy and fun. This is probably why his poems are so popular and loved by all children.

About war

Kuban poets wrote many truthful, sincere lines about the war, sometimes saturated with a note of bitterness about their fallen comrades. Aksakal, one of the most respected poets on military subjects, is Vitaly Borisovich Bakaldin. A native of Krasnodar, as a teenager he survived six months of the German occupation and later often returned to the topic that worried him.

His poems about terrible events are piercing and heartfelt. He is ready to talk endlessly about the immortal exploits of his senior comrades. In the poem “Krasnodar True Story,” the author talks about yesterday’s school graduates who had just been called up to expel the Nazis. They fought to the death with adult fighters, holding the line for three days. Many of them remained forever lying near Krasnodar “class and school.” Other significant works:

• "September '42 in Krasnodar."
• "October '42 in Krasnodar."
• "Our day".
• "February 12, 1943."

About family and eternal values

Kuban poets do not stop talking about family, eternal, enduring values. The poet Aleksandrovich, member of the Writers' Union, laureate has unquestionable authority literary prizes. Born on April 10, 1960 in the Krasnodar Territory (stanitsa Korenovskaya), on Palm Sunday. The poet is published in famous magazines: “Don”, “Moscow”, “Rise”, “Our Contemporary”, “Roman Magazine 21st Century”, “Siberia”, “Border Guard”, “House of Rostov”, “Volga-21st Century” , "Native Kuban". In the newspapers: “Literary Day”, “Literary Newspaper”, “Russian Reader”, “ Literary Russia" Currently lives in the city of Korenovsk. Among his masterpieces are “I Walk the Earth”, “Gray Heart”, “Above the Meaning of Being”, “Circle of Love and Kinship” and others.

Social activity

There are two main literary organizations in Kuban:

• Union of Writers of Russia.
• Kuban Writers' Union.

The Russian Writers' Union in Kuban is represented by 45 masters of words. At various times, it included V. B. Bakaldin, I. F. Varavva, N. A. Zinoviev, N. (the current chairman of the branch), K. A. Oboishchikov, S. N. Khokhlov and others.

The Union of Russian Writers (30 members) is positioned as an association of people of the “new formation”, supporters of democratic changes. Kuban poets of the “middle” generation are more represented in it: Altovskaya O. N., Grechko Yu. S., Demidova (Kashchenko) E. A., Dombrovsky V. A., Egorov S. G., Zangiev V. A., Kvitko S.V., Zhilin (Sheiferrman) V.M., Poleshchuk V.V. and other talented authors.

Pride of the region

It is a thankless task to argue which writer is the best. Each master of words has his own vision of the world, and, accordingly, his own unique style, which may coincide with the tastes of readers and critics or be special, understandable to a few. Only officially, more than 70 writers of the Krasnodar region are members of literary unions, not counting “amateur”, but no less talented authors.

But even among many, there are individuals whose authority is indisputable, whose works have been awarded state prizes and awards. The “patriarchs” of Kuban poetry with undeniable grounds can be called Bakaldin Vitaly Borisovich, Varavva Ivan Fedorovich, Golub Tatyana Dmitrievna, Zinoviev Nikolai Alexandrovich, Makarova Svetlana Nikolaevna, Malakhov Viktor Ivanovich, Oboishchikov Kronid Alexandrovich, Obraztsov Konstantin Nikolaevich, Podkopaev Victor Stefanovi cha, Saakova Valentina Grigorievna, Sergei Nikandrovich Khokhlov and other writers who glorified the glorious Kuban land.

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Presentation - Musical culture of Kuban

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Musical culture of Kuban

Municipal budgetary institution of additional education "Children's art school of the village of Staromyshastovskaya" of the municipal formation Dinskaya district "MUSICAL CULTURE OF KUBAN" Developer: teacher of theoretical disciplines IZUGRAFOVA Elena Nikolaevna Staromyshastovskaya 2016

EXPLANATORY NOTE Mastering the regional musical heritage is a very important problem in the professional training of Kuban teachers. Previously, the regional component of education accounted for 10-15% of the total federal, but today the historical past, cultural heritage Kuban became the basis for the subject “Kuban Studies,” introduced in all Kuban schools. A regional component has also been introduced into the educational disciplines of the musical theoretical cycle at the children's art school. The presentation “Musical Culture of Kuban” was created taking into account such didactic principles as consistency and accessibility. The training content developed by the author is focused on education, upbringing and development of the student’s personality. Educational material structured coherently and logically. It reflects two directions: the study of folk musical culture, musical folklore, reflecting the history of the peoples of Kuban, their traditions, the system of their spiritual values; studying creative heritage composers of Kuban. The relevance of this topic is beyond doubt, since it represents a systematization of all currently existing information about Kuban music, covering this area as much as possible, and is intended specifically for work in a children's art school. The author has carried out serious work on the careful preparation of illustrative material and phonographs.

One of the remarkable features of Kuban was that the residents of the Cossack villages had extensive singing experience, acquired in the process of collective singing in agricultural work, as well as during military service and annual military training of the Cossacks. Choral singing took great place in calendar and family rituals, in festive feasts, in dances, round dances, and games. Singing in the streets was widespread in Kuban. The love of Kuban residents for collective singing could not help but give rise to the emergence of regimental, school and amateur choirs.

FROM HISTORY... Military singing and musician choirs (1811-1917) occupied a special place in the musical life of Kuban, in the development and strengthening of singing traditions. Esaul I.I. Kiyashko in the book “Military and Musical Choirs of the Kuban Cossack Army” writes: “At first, after moving to Kuban, the efforts of settling in new places... did not give the opportunity to show a love of music, but, having settled in and looked around, the Cossacks already in 1811 organize their own singing and musical choirs.”

Along with works of spiritual content, including works by W. Mozart, P. Tchaikovsky, D. Bortnyansky, A. Lvov and others, the singing choir performed a large number of Russian and Ukrainian folk songs arranged by local Kuban musical figures - M. Bibik, G. Kontsevich, A. Bigday. A significant place in the choir’s repertoire was occupied by works by Russian composers (M. Glinka, A. Dargomyzhsky, P. Chesnokov, M. Antsev) and foreign composers(L. Beethoven, J. Haydn, R. Wagner, R. Schumann, F. Mendelssohn, etc.).

For the longest time, over 14 years, G.M. was the regent of the Military Choir. Kontsevich. From 1892 to 1906 he was the regent of the military singing choir, and from October 1910 he was a singing teacher and collector of Kuban Cossack songs at the Military Choir. G.M. Kontsevich was a professional composer who created such outstanding choral works as “Cantata in Memory of K.D. Ushinsky" and "Monument" based on poems by A.S. Pushkin.

Grigory Kontsevich

Since January 1, 1910, the Military Singing Choir has been headed by Kontsevich’s student Ya.M. Taranenko, under which the military choir is experiencing a time of new creative upsurge. Frequent performances before the public made the choir famous far beyond the borders of Kuban. A significant place in creative activity military choirs were devoted to the propaganda of church music. The military choir is associated with the collection and study of Kuban Cossack folklore. Enormous merit in this noble cause, as well as in the popularization of Cossack songs, belongs to G.M. Kontsevich. In the period from 1904 to 1913. he collected and published more than 200 Kuban songs in his own arrangements.

An important place in the history of collecting Kuban song folklore rightfully belongs to the prominent musical and public figure Akim Dmitrievich Bigday. With the name A.D. Bigdai is associated with the opening in Yekaterinodar in 1889 of a circle of music lovers, with the active participation of which the operas “Faust”, “Troubadour”, “Cossack beyond the Danube” were staged. Theater and artistic mugs. Their popularity gave rise to the need to form the “Society of Lovers of Fine Arts.” The most significant event in the development of music education in the Kuban region was the opening of a music school in Yekaterinodar in 1908. The school had three departments: piano, orchestral, vocal. Somewhat later, regency classes were opened.

In 1910, F.I. performed in Ekaterinodar. Chaliapin. The residents of Ekaterinodar had the happiness of seeing and hearing the famous singer. Despite high prices for tickets, by the beginning of the concert the theater was crowded with people. Very warm and welcoming F.I. Chaliapin was greeted by the audience; everyone wanted to listen to the great singer. The people of Ekaterinodar had the good fortune to meet the wonderful art of L.V. Sobinova. The first concert of the “king of disputes” took place in Yekaterinodar in 1900 in the building of the second public meeting (now the Krasnodar Hotel). The hall was crowded, the audience stood on the street. Second concert of L.V. Sobinov in Ekaterinodar took place 12 years later.

F.I. Shalyapin L.V. Sobinov

In 1913, S.V. gave a concert in Yekaterinodar. Rachmaninov. “The large audience that had gathered listened with true pleasure to the entire program performed by this rare musician, with excellent, unique playing.” To the public's calls S.V. Rachmaninov performed several works, of which “Polka” was performed on stage for the first time. The famous composer and pianist was presented with a wreath and many flowers.

S.V. Rachmaninov

The name of another famous artist, Vasily Petrovich Damaev, a native of Kuban, was known not only in Russia, but also abroad. V.P. Damaev was born in the village of Otradnaya, into a poor family. Lacking financial resources, V.P. Damaev probably would never have been able to receive a musical education, but quite by chance his singing was heard by a Moscow theatergoer, lawyer I.L. Gar, who became interested in the fate of a simple village guy. He directed V.P. Damaev to Moscow with a letter of recommendation to his sister V.P. Kozlovskaya, who was associated with music schools.

V.P. Damaev

Three years of titanic work and intense study of opera in conditions of dire need were crowned with brilliant success. In 1907, Damaev prepared two roles at once - the Pretender in “Boris Godunov” by M. Mussorgsky and Radames in “Aida” by D. Verdi. On August 30, 1908, V.P.’s debut took place at the Zimin Theater. Damaeva. Newspaper " Russian word“wrote about this performance: “Among the performers, tenor Damaev stands out; the young singer showed a voice of rare timbre and brilliant diction.” F.I. was also delighted with the singer’s wonderful voice. Chaliapin: “You have to grab hold of such a tenor with both hands. He is a true dramatic tenor with excellent diction and undoubted talent.”

In 1909 V.P. Damaev together with F.I. Chaliapin went on a tour with the Russian opera - Paris, Berlin, London. The operas “Boris Godunov”, “Woman of Pskov”, “Khovanshchina” met with an enthusiastic reception from foreign audiences. V.P. Damaev traveled around the country on tour with concerts. He visited Arkhangelsk, Ryazan, Yaroslavl and other cities. V.P. came Damaev to his native village of Otradnaya, where he gave concerts for his fellow countrymen.

FOLK MUSIC OF KUBAN Folk songs Kuban Musical folklore is presented as a syncretic art form that is closely intertwined with life, everyday life, folk traditions. Therefore, the genres of song and instrumental folk music, holidays of the Russian people are considered in a broad life context, in close connection with history, nature, and the life of the Russian people. When studying the musical folklore of the Kuban Cossacks, a primary role should be given to mastering the diversity of its genres: historical, marching, lyrical, dance, and comic songs. Deserves special attention ritual folklore: wedding, Christmas, Easter songs.

Mastering samples of folklore can include various forms of its implementation: singing, instrumental music playing, movement to music and the use of dance elements, imitation of the living environment, decorative design of the music being listened to and performed (costume), staging, “acting out” songs, games national holidays. Since students already have some singing experience, you can draw their attention to the nature of the cantilena of Kuban songs, wide breathing, a peculiar manner of performance associated with the peculiarities of the living conditions of people in the Kuban: the sounding song spread across the endless steppe and was heard even in neighboring villages.

Linear Cossacks
The line is usually called the very defensive line that A.V. built and strengthened in Kuban. Suvorov in 1777-1778. Linear subsequently began to be called the Don Cossacks and all those immigrants from Russia who served on Kuban soil or later moved here for permanent residence (in parts of the Ekaterinodar and Maikop linear departments, in the Caucasus, Batalnashinsky and Labinsky). The songs of these Russian people began to be called “songs of linear Cossacks.” Historical songs of the Black Sea and linear Cossacks have a variety of themes. Most of them are dedicated to the difficult Cossack military service, the most important events, taking place in the south of Russia, atamans who became famous in the battles for Russian lands. In many songs, much attention is paid to the fate of Cossack women who saw off their husbands, brothers and sons to war.

With all the variety of subjects, a number of stylistic features can be noted that characterize the historical song genre. N.K. Parkhomenko notes that in historical songs it is not the details of plot twists and turns that are important, but the general emotional tone of majesty, grandeur, and extraordinaryness. For this reason, the lyrics are not overly detailed; the presentation of the plots is quite brief and laconic. Sometimes just a hint of the events described in the song is enough. What is more important is its figurative and emotional content. The rhythm of the verse and chant is directly related to the genre basis of the songs. It is noteworthy that historical songs can have both a marching and a dance basis, sometimes they are characterized by the appearance of drawn-out songs. Usually, in collections of Kuban songs, historical, military, everyday and marching songs are combined into one group.

When studying Cossack songs, the teacher should draw the children’s attention to the nature of the performance of numerous examples of the song heritage. They can be both authentic (genuine) and stylized. You can invite children to talk about the performing style of Krasnodar creative groups performing folk music, about introducing novelty into traditional music thanks to its skillful reading, about the individuality and uniqueness of such interpretation.

The image of the Motherland in Cossack songs
“You, Kuban, you are our Motherland” is one of the most popular folk songs in Kuban, the anthem of the Kuban land. When listening to the song, you can notice the rising fourth intonation that is often repeated in the melody. The general upward direction of the melody in phrases enhances the affirmative, optimistic nature of the song and its pathos. The content of the song emphasizes that bows to their land are sent by her sons, who are in the distant countries of the “midday”, in the “Turkish side”, but are ready to stand up “for the holy Russian land.” You can invite students to talk about the content of the song, the text of which (a poem by Konstantin Obraztsov) was published in 1915 in the “Kuban Cossack Bulletin” and is dedicated to “the Cossacks of the first Caucasian Cossack regiment in memory of their military glory." The poem was written in Turkey at the positions of active units of the Caucasian Army and became a message to the beloved Motherland from distant Turkish lands.

“Oh, the clouds are dark.” A drill song about the return of a Cossack detachment from a campaign. “Oh, let’s remember, brothers, we, the Kuban people.” A song from the Great Patriotic War about the heroic battle of Cossack troops with the Nazis. The song is of a ballad-narrative nature, slowly unfolding in time, telling about a brave commander who promises his soldiers not to forget the help and brotherly support provided to him in battle. “Beyond the Kuban, brothers, beyond the river.” A marching song from the Civil War about the meeting of the Cossacks with Budyonny’s troops. “Fly, seagulls, to the sea.” A song about the events of the Civil War, about the battle of the Cossacks of the Fourth Kuban Regiment with the interventionists in Transbaikalia. “The stern destroyer was in the roadstead.” Song about the events of the Great Patriotic War.

“Oh, Rasya, you Rasya” (another option - “You, Russia, you, Russia, you, my little Russian. About you, my Russia, honor and fame lie”). A historical song about the Cossack Matvey Ivanovich Platov, ataman of the Don Army, a participant in the battles of the Patriotic War of 1812. The song describes an episode associated with Platov’s visit, disguised as a merchant, to the rear of the French during the war of 1812. “I’m leaving for the glorious Caucasus.” A marching song of the linear Cossacks about the farewell of a Cossack going on a campaign to his loved ones. “Oh, yes, we stood on the mountain.” Marching song of the linear Cossacks about their return to Kuban from a campaign. “Oh, a cherry blossoms in the garden” (another option is “Yes, a tree blossoms in the garden”). A drill song about seeing off a young Cossack on his campaign. “Not from under the clouds, but the breeze is blowing.” A drawn-out song about the upcoming service of the Greben Cossacks on the Terek. The song poetically reproduces the dialogue between the Cossacks and the Tsar, who announces to them the upcoming changes in their service.

Kuban residents took part in the Patriotic War of 1812, the Crimean Military Company (1854-1855), and in the liberation of Bulgaria from the yoke Ottoman Empire(1877-1878), in the Russian-Japanese War (1904-1905), the First World War, and all these events were reflected in the songs: “About 1812”, “About Platov”, “Like Winged Falcons” , “A Cossack was traveling from the war.” In addition to military events, drill songs reflect pictures of peaceful camp service, training trips, and barracks life. The Cossacks loved to sing comic and playful songs with dancing on the move and dashing, playful whistling. Sometimes their jokes and humor took on a satirical tone, ridiculing negative sides military life of the Cossacks, arbitrariness, tyranny of senior ranks. Songs about the death of soldiers on the battlefield from wounds received in battle are received with particular emotion.

In foreign lands, in military service, I was somehow more drawn to sad motives. But when they returned home, fun and joy flowed like a river. The warriors were greeted widely and hospitably by the entire community, and musicians with banduras, accordions, and balalaikas followed on their heels for a long time, amusing their brave little souls with songs: “Beyond the Kuban, the fires are burning,” “Because of the forest, the forest is a copy of swords,” “Full of , brothers, to you, Kuban residents,” “Let’s remember, brothers.” Even the briefest review of military-historical songs suggests that almost all important historical events, which took place in Russia (not only in the south, but also in the west, and even in Siberia), found poetic interpretation in the songwriting of the Cossacks.

Songs continued to be created in the 20th century, being an emotional response to the events of the Civil and Great Patriotic Wars. Most likely, such eventfulness and saturation with events became the reason for the displacement from existence of epics and epic epic songs, which occupied a significant place in the Cossack repertoire until the beginning of the 20th century. Military-historical songs seem to “branch off” from military-historical songs. N.K. Parkhomenko notes that “military songs reveal character traits Cossack life with its special structure reflects the socio-economic situation. These songs are often full of lyricism and bright emotional intensity. They are characterized by the richness and variety of techniques of musical and poetic development, the originality and originality of the composition.” These are songs such as “The sun hid behind the mountain”, “I planted a rose”, “Oh, I was quietly driving over the river”, “Oh, like under a pear tree”, “Oh, you are such a bright lightning”.

Also N.K. Parkhomenko points out, speaking about historical songs, the possibility of their performance by both men and women: “Thus, military-historical and military-everyday songs belong, as is known, to the type of male drawn-out lyrical song with its developed subvocal polyphony, with clearly marked in it the functions of the voices: the lead singer - “leader”, “vocalists”, “podvosnik”, “dishkant” or treble. Men's and women's voices in the choral score are located and function in accordance with their musical abilities, technical, register and other capabilities of the singers.” The abundance of military-historical songs in Cossack songwriting testifies to the predominance of the feeling of patriotism in the Cossack’s worldview over other feelings and moods.

Nekrasov Cossacks
Russian songs along with servicemen could not help but get to Kuban in 1688 Don Cossacks Ataman Pyotr Murzenko. The songs of that time glorified the campaigns in which the detachments of the Cossack atamans Ermak (1581-1585), Stepan Razin (1630-1671), Kondraty Bulavin (1660-1708) and his associate Ignatius Nekrasov (1660-1737) were looking for a life free from royal oppression. , Emelyan Pugacheva. The Nekrasov Cossacks left a noticeable mark on the history of the settlement of the Kuban region by Russian people. The Nekrasovites divided their song wealth into a number of thematic layers: songs about Ignat, service songs, conversational or sociable songs (this also includes historical songs), women's, wedding, karagod (round dances), heartbeats, street songs, guddka (lullabies), game (counting books) , comic jokes; spiritual poems (songs of a recitative nature). These are “Oh, a drinker of a distant one”, “Not alone in the field” and many others. Life in Turkey, far from their native land, left its mark on the musical heritage of the Nekrasovites - many songs and dances are full of elastic oriental rhythms and whimsical intonations. Even the costume of the Nekrasovites is noticeably different from the costumes of the linear and Black Sea Cossacks.

All songs related to military-historical and military-everyday themes form a special branch of Kuban song folklore - the “male” song. The singing of men in church and regimental choirs became widespread end of the 19th century century and began to play an important role in the musical and concert life of the region. Cossack women sang ballad, lyrical, family, wedding, and comic songs. A special role in the promotion of musical and singing art was played by the musicians' choir created in 1811 (at the request of Ataman F.Ya. Bursak) and the singing choir (through the efforts of K.V. Rossiysky). In every village school, singing was a compulsory subject, and almost every Orthodox church had its own church choir. 36 military units The Kuban Cossack army had orchestras. In 1889-1895. A public circle of music lovers worked in Yekaterinodar. Many parents tried to teach their children to play musical instruments. The famous public figure of Kuban, amateur musician, collector of Cossack songs Akim Dmitrievich Bigdai (1855-1937) undertook to help with this. In 1897, he organized and headed a circle of music lovers.

HELL. Bigday

A native of the village of Staronizhesteblievskaya, Grigory Mitrofanovich Kontsevich (1863-1937), a choirmaster, composer and teacher, played a major role in the promotion of musical art. Since 1892, he headed the Kuban military singing choir, which was rightfully considered one of the best choirs in Russia. For teachers of primary schools, he published two teaching aids on singing, and prepared seven collections of folk songs that were popular among the Cossacks.

Representatives of the musical culture of Kuban: A.A. Holovaty (1732-1797) - the first Kuban kobzar, writer and performer of Cossack songs, military judge, ataman.

M. Boguslavsky - creator of the bandura choir in Yekaterinodar

A.N. Drozdov (1883-1950) - composer, pianist, musicologist. 1911-1916 - Director of the Ekaterinodar Music School.

G.M. Kontsevich (1863-1937) - choirmaster, composer and teacher, collector of folk songs, regent of the Kuban Cossack Choir.

A.S. Piven (1872-1962) – Cossack folklorist and writer, publisher of works of Kuban folk art.

Black Sea Cossacks
On June 30, 1792, with a special charter from Catherine, the Black Sea Cossack Army was granted lands between the Kuban and the Sea of ​​Azov. Catherine agreed to allocate these lands to the Cossack army for settlement with the following expectation: the Cossack riots that flared up from time to time in the Zaporozhye Sich would stop, and another source of concern would be eliminated. But this was not the only thing that worried the empress. By that time, a peace treaty had been signed between Russia and Turkey, according to which Russia expanded its possessions and gained dominance over the Kerch Strait. It was necessary to populate new lands as quickly as possible, develop them, and, most importantly, protect them. Ordinary settlers might not be able to cope with this; this requires strict military discipline, the ability to fight and constant support for combat readiness - there were too many unfriendly neighbors surrounding the Russian south. And after Anton Golovaty’s visit to Tsarskoe Selo, the Cossacks began to prepare for resettlement.

The resettlement to the Kuban lands was quite painful for the Cossacks. A long road, primitive transport, the minimum amount of essentials - often all this became the cause of illness or even death of members of Cossack families. It is not for nothing that popular wisdom has always compared any move to a fire - the losses were too great. What documents will be able to reflect the pain that a person experiences when he is forced to leave the places he lived, which he considered his homeland all his life? All these events were most directly reflected in the drawn-out songs of the Black Sea Cossacks. The hardships of resettlement did not break the Cossacks or their faith in life. To the new lands, as far as possible, they brought with them what surrounded them in their former life. Building new life, the Cossacks tried to make it look like the one that remained far away. This is how the famous historian I.D. writes about it. Popko: “The Black Sea people speak the Little Russian language, which is well preserved. Just as much, under their military Caucasian shell, the features of the Little Russian people were preserved in morals, customs, beliefs, in domestic and social life. The chanting in the choir, the stonefly on the street, the generosity under the window, the groom at the vespers, and the whitewashed corner of the hut, and rowing with green willows, and the ox in the yoke, and the horse under saddle - everything reminds you in this distant Caucasian Ukraine of Hetman Ukraine, Nalivaika and Khmelnitsky... Thus, the old song of the hetman of Ukraine lives inseparably with the generations of the people who transferred their penates from the Dnieper to the Kuban, and it sounds like a thousand-spoken story about glorious deeds and the high qualities of our forefathers as a testament to our great-grandchildren, who have gone far from their ancestral graves..."

One can note a number of differences in the costume of the Black Sea and linear Cossacks. Among the Black Sea residents, clothing of the Zaporozhye style, brought from Ukraine, prevailed - blue trousers, a blue kuntush (outer jacket), under which a red caftan was worn. The uniform uniform of the Black Sea residents - trousers and a jacket made of blue cloth - was approved in 1918. This model is followed today by folk groups performing folk dances and songs, which allows them to convey the national identity and unique flavor of Ukrainian folklore. It is possible that the basis for the choreographic performances were earlier examples of folklore of the Black Sea people (1st half of the 19th century), because the unification of the Cossack uniform of the Black Sea people and the Lineians made its own adjustments to the dance creativity. For example, squatting movements in narrow trousers and a Circassian coat (approved in the mid-19th century) will look completely different than in wide trousers and a caftan of the Zaporozhye model of the 1st half. XIX century The reasons for this unification are interestingly explained by I.D. Popko: “Having taken weapons, clothes, saddle and seat from the Circassian, at the same time he (the Cossack - E.P.) adopted the liveliness and daring of his opponent.” Loose clothing in new climatic and geographical conditions may have interfered with the sharp and precise movements so necessary in military operations.

Moreover, changes in costume were also part of the combat tactics of the Cossacks, who often adopted the clothes, weapons and appearance of their enemies. Once upon a time, back in the Sich, during conflicts with the Tatars, as noted by I.D. Popko, “the Cossacks dressed, armed themselves, saddled their horses and even shaved their heads like the Crimean Tatars. To become leopards for the Crimean hyenas, they approached them like chameleons.” As a result of changes in uniform, both the Black Sea and Line people began to wear the same uniform, consisting of a black Circassian coat, dark trousers, beshmet, bashlyk, to which were added a burka, papakha and boots in winter. Characterizing the uniform of the Black Sea men, I.D. Popko notes that for the Black Sea Cossack, this uniform combined his past and present: the kuntush of Hetman Ukraine and the combat outfit of the Caucasus Mountains. The outfit of Cossack women usually consisted of a skirt and blouse, an indispensable accessory of which were ruffles and frills that emphasized a slender figure. It is interesting that the Cossack costume does not include a sundress, which is found in almost all regions of Russia: both in the middle zone and in the North.

Chernomortsy is a name introduced into Russian official use for the former Dnieper Cossacks after their expulsion from Zaporozhye and shortly before their relocation to the Azov region. Their former name “Zaporozhye Cossacks” was withdrawn from use by government decree. For successful participation in Russian-Turkish wars By decree of Catherine II of January 10, 1790, the former Zaporozhye Cossacks who lived between the Southern Bug and the Dniester receive the name “Loyal Army of the Black Sea,” and the Cossacks of this army are called “Black Sea people.” In 1792, with a letter of grant, Catherine II allowed the Black Sea Cossacks to move to new lands “... in the Tauride region, the island of Phanagoria with all the land lying on the right side of the Kuban River, from its mouth to the Ust-Labinsk redoubt, so that on one side the Kuban River , on the other, the Sea of ​​Azov to the town of Yeisk...” “The Black Sea Army is responsible for vigil and guarding the border against the raids of the Trans-Kuban peoples.” On August 25, 1792, the first Black Sea residents landed on the Taman coast and began to populate these lands. Here too, the Black Sea people preserved the social and military traditions and skills of their Cossack ancestors. The courageous, independent character of the Ukrainian and Russian Cossacks played a positive role in the development and improvement of the sparsely populated, restless region. The Caucasian tribes greeted the new settlers with hostility. However, they soon realized that before them appeared people of strong will, energy, endurance, equal to them in courage and military prowess, who did not tolerate violence against themselves.

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Text content of presentation slides: PRESENTATION FOR PROJECT WORK ON KUBAN STUDIES on the topic: “Composers of Kuban” Contents: I. Introduction Music life in Kuban II. Main part Ponomarenko Grigory Fedorovich Zakharchenko Viktor Gavrilovich Kevorkov Vitaly Alexandrovich Magdalits Vladimir Vasilyevich Plotnichenko Grigory Maksimovich Petrusenko Ilya Antonovich III. Conclusion Musical life in Kuban I was happy to meet the purity and beauty of genuine art: with the melodiousness of a simple melody, with the poetry of drip-like transparency, with the living breath of light on the canvas ,with undeliberate theatrical passion...Touches of the highest beauty illuminated life with an introduction to happiness.V. Bakaldin One of the remarkable features of Kuban was that the residents of the Cossack villages had extensive singing experience, acquired in the process of collective singing in agricultural work, as well as during military service and annual military training of the Cossacks. Choral singing occupied a large place in calendar and family rituals, in festive feasts, in dances, round dances, games, and singing in the streets. The most significant event in the development of music education in the Kuban region was the opening of a music school in Yekaterinodar in 1908. The school had three departments: piano, orchestral, vocal. Among the most famous composers of Kuban are Viktor Gavrilovich Zakharchenko, Vitaly Alexandrovich Kevorkov, Vladimir Vasilievich Magdalits, Grigory Fedorovich Ponomarenko, Grigory Antonovich Plotnichenko. The building of the Metropol Hotel, where the conservatory and music college were located PONOMARENKO GRIGORY FEDOROVYCH Grigory Fedorovich Ponomarenko was born on February 2, 1921 in Ukraine. His family was not particularly interested in music, but there was a person who had a huge influence on the fate of little Grisha. The boy's uncle Maxim Terentyevich Ponomarenko was an original musician and a wonderful master. In 1938, Ponomarenko joined the song and dance ensemble of the border troops. While serving in a military ensemble, he learned a lot from his older fellow musicians. Real fame came to him after the war. Working in Kuibyshev (now Samara), Grigory Ponomarenko became the author of songs beloved in Russia: “Orenburg Down Shawl”, “I Will Call You Dawn”, “Ivushka”, “A Birch Tree Grows in Volgograd”. PONOMARENKO GRIGORY FEDOROVICH Having moved from the Volga to the Kuban, Grigory Fedorovich visited many villages and farms, got acquainted with creativity folk performers, carefully studied all the collections of Cossack songs, got acquainted with the work of Kuban poets, learned about how ancient Cossack songs are carefully preserved and carefully collected in our region. Here, in Kuban, Ponomarenko wrote music for films and operettas. But the main thing in his work remained songs. “Eh, horses, horses”, “Nightingale on a branch” to the verses of I. Varabbas, “Labor hands”, “The Cossack stood on the stone” to the verses of S. Khokhlov, “Song about Novorossiysk”, “Khutor” to the verses of K. Oboyshchikov and dozens more wonderful works. Grigory Fedorovich Ponomarenko was awarded the titles of People's Artist of the USSR, People's Artist of Russia. These songs talk about the main thing: about Russia, about love, about the steppe dawns and endless fields of the beautiful Kuban. ZAKHARCHENKO VIKTOR GAVRILOVICH Born on March 22, 1938 in Art. Dyadkovskaya, Korenovsky district, Krasnodar region. In 1956, Viktor Gavrilovich entered the Krasnodar Music and Pedagogical School. After graduating, he became a student at the Novosibirsk State Conservatory. M.I. Glinka to the Faculty of Choral Conducting. Already in the 3rd year V.G. Zakharchenko was invited to a high position - chief conductor of the State Siberian Folk Choir. 1974 was a turning point in the fate of V.G. Zakharchenko. A talented musician and organizer becomes the artistic director of the State Kuban Cossack Choir. Kuban Cossack Choir under the direction of V.G. Zakharchenko has repeatedly become a laureate of all-Russian and international competitions and festivals. The team is awarded the honorary title Academic, the State Prize named after. T.G. Shevchenko of the Republic of Ukraine and was awarded the Order of Friendship of Peoples. ZAKHARCHENKO VIKTOR GAVRILOVICH He created the following works: “Alarm” to the verses of V. Latynin, “Russia cannot be understood with the mind” to the verses of F. Tyutchev, “Help the weaker” to the verses of N. Kartashov.V.G. Zakharchenko revived the traditions of the Kuban military singing choir, founded in 1811, including in its repertoire, in addition to folk and original songs, Orthodox spiritual chants. With the blessing of the Patriarch of Moscow and All Rus', the State Kuban Cossack Choir takes part in church services. In Russia, this is the only team that has been awarded such a high honor. KEVORKOV VITALY ALEXANDROVICH Born on October 16, 1937 in Baku. In the 50s and 60s he began composing instrumental music and doing jazz improvisations. He wrote the piano trio No. 1, the First and Second Symphonies, and a string quartet. Among the works of Vitaly Alexandrovich written in the 70s, he occupies a special place symphonic poem“Memory”, dedicated to the heroic feat of the Soviet people during the Great Patriotic War. In the mid-70s, Kevorkov turned to piano music for children (the “Matryoshka” cycle). These works were orchestrated for the All-Union Radio Folk Instruments Orchestra. The orchestra “Virtuosi of Kuban” included the suite in its repertoire. In 1996 he was awarded the title of Honored Artist of Russia. MAGDALITS VLADIMIR VASILIEVICH Born on May 24, 1951 in the village of Akhtyrskoye, Krasnodar Territory, into a family of employees. Graduated there music school, then entered Kubansky State University to the Faculty of Music and Pedagogy and graduated from it in 1973. The next step in the development of the composer was the Russian State Academy of Music. Gnessins, and then postgraduate studies at the same academy. He initiated the creation of performing groups, such as the Krasnodar chamber choir, ensemble percussion instruments"Premier Orchestra". MAGDALITS VLADIMIR VASILIEVICH Today Vladimir Vasilyevich is the secretary of the Union of Composers of Russia, chairman of the Krasnodar regional branch of the Union of Composers of Russia, participant in Russian and international festivals and forums. He is the author of a number of major works, such as the symphony-requiem “The Last Witnesses” (based on the works of S. Alexievich), the symphony “Remembrance” - in memory of the victims of Chernobyl, the concert for piano and orchestra “Wreath of Sonnets” (noted with an international prize), the first Kuban ballet “Taman” (based on the works of M. Yu. Lermontov). For this ballet, Magdalits was awarded the prize named after him in 2001. D.D. Shostakovich. V.V. Magdalits is one of the prominent representatives of his generation in the domestic musical art XX century in Kuban. PLOTNICHENKO GRIGORY MAKSIMOVICH Plotnichenko Grigory Maksimovich was born on August 18, 1918 in Taganrog into the family of a port worker. In 1937, he entered the conducting and choral department of the Krasnodar Music School. Grigory Maksimovich's first musical works are small pieces for an orchestra of folk instruments. In 1941, he voluntarily went to the front. And one after another his songs appeared about the events of the terrible war years, about the exploits of the Russian people: “Mortar Guardsmen”, “Sevastopol”, “Walks Along the Don”, etc. From 1949 to 1953, Plotnichenko worked as the artistic director of the Severo song and dance ensemble -Caucasian Military District. During this period he turned to larger musical forms. The suite “Return”, choirs “My Kuban”, “Corporal on Leave” are being created. PLOTNICHENKO GRIGORY MAKSIMOVICH In addition to songs and choirs, the composer writes ballads “I am a grain grower”, “Ballad of Svetlana”, romances “On a Moonlit Night”, “Birch Tree”, “Dropped by the Young Moon”. He wrote music for 15 performances puppet theater. Among them are “The Crystal Slipper”, “At the Command of the Pike”, “Ivan the Peasant Son”. And yet choral creativity is the main thing that the composer devoted himself to. And the first choral song that deserves special attention is “Kuban Blue Nights” to the verses of S. Khokhlov. Kuban art critic V. Shcheglov called it “the musical symbol of our native land" ILYA ANTONOVICH PETRUSENKO was born on August 1, 1941 in the village of Koshekhabl in Adygea. In 1957, Ilya Antonovich entered the conducting and choral department of the Krasnodar Music College named after. N.A. Rimsky-Korsakov.. As a 4th year student, Petrusenko created his first musical composition- “The dashing snowstorms have died down” to the text by A. Buzhenko. Since 1966, Ilya Antonovich has been studying and working in Kuban. He composes some songs based on the poems of the famous Kuban poet I. F. Varabbas - “Native Land!”, “Mom, Mom”, “Hleborobskie steppes”, “I am dreaming of the birch noise again...”. PETRUSENKO ILYA ANTONOVICH In the early 70s, Ilya Antonovich headed the Kuban folk song and dance ensembles “Kolos” and “Niva”. Petrusenko wrote the songs “I’ll put on Nice dress", "Autumn Song", "Why do I Dream of You", "Cossack Festive", "Wormwood Grass". Wide resonance in musical world received his musical and journalistic works. Ilya Antonovich's books are stories of the life and work of famous masters of culture and art. Currently, the composer lives in the picturesque village of Afipsky, where he draws strength for his creativity in communication with the people and nature. Residents of Kuban love to sing. They sing Russian and Ukrainian songs, which sound either a drawn-out lyrical melody, or a cheerful energetic march, or a cheerful, daring Cossack dance. And in the foothills of the gray Caucasus, the free, intricate melodies of Adyghe songs flow widely. There are many beautiful songs in the Kuban that have received nationwide recognition. They have become so firmly entrenched in the life of the Kuban people, they are performed so often that they have already, as it were, dissolved in the melodies of their native land, turning from original to folk. And, perhaps, it is the song that will help us immerse ourselves in the world of living history, teach us to understand the people around us and ourselves. Song is the precious wealth of our people. Kuban, Kuban is the joy of my soul, The fields are filled with the radiance of the dawns. I don’t need anything in the whole world, Your song would float in the heights... Sergey Khokhlov Conclusion LIST OF REFERENCES USED1. Bogatyrev P. Russian folk poetic creativity. - M.: Muzgiz, 1974. 2. Vladykina-Bachinskaya N. Musical style of Russian round dance songs. M.: Art, 1996. 3. Zemtsovsky I. Folklore and composer. - L. - M.: Muzgiz, 1978. 4. Popova T. Russian folk musical creativity. - M.: State Music Publishing House, 1982.