Potential of regional periodicals for the history of Russian musical culture in the second half of the 1960s.

Tuzova Ol'ga Vladimirovna ORCID: 0000-0001-8774-0674 Doctor of History Professor, Department of Philosophy and Social and Humanitarian Sciences, Samara State Technical University 443100, Russia, g. Samara, ul. Molodogvardeiskaya, 244 ovtuzova@mail.ru Other publications by this author

Erokhina Karina Sergeevna ORCID: 0000-0002-2834-1005 student, Department of Automation of Technological Processes and Production, Samara State Technical University 443100, Russia, Samarskaya oblast', g. Samara, ul. Molodogvardeiskaya, 244 karinaerohina561@gmail.com

Musical culture is a phenomenon with sound—intonational semantics, abstractness, national and supranational features. Together with a steady interest in the rich Soviet past, understanding its positive and negative aspects for the country and specific people, the disclosure of the role of the musical component seems to be an actual scientific vector. The eighth five-year plan of 1966-1970 is among the most significant in terms of economic development and practically not studied from a historical and cultural perspective. Comprehensive works on the history of Russian musical culture and its regional versions during the reign of Leonid Brezhnev and in particular in the second half of the 1960s have not been found in historiography. Among the historiographical focuses identified in the publications are some issues of public administration of art ^{[1, 2]}, training of creative personnel, cultural exchange with other countries ^[3-5], the development of musicology, musical sociology ^[6-9]. Some problems of regional culture, including music, are reflected in the articles by S. A. Zaelskaya ^[10-15] and Yu. K. Troyakova ^{[16, 17]}. In this regard, one of the primary tasks in building a strategy for recreating the panorama of the national culture of the mid-1960s – early 1980s is the search, source processing, systematization and acquisition of the empirical corpus, an integral component of which is the periodical press.

The purpose of this study is to establish the information potential of the regional newspaper "Volga Commune" for the reconstruction of the musical life of the Kuibyshev region in the second half of the 1960s. To achieve it, it is necessary to conduct a selection of information units, highlight socially significant processes and events of musical life, features and prospects for the use of periodical materials as a historical source on the problem. The methodological arsenal is formed from the traditional principles of objectivity and historicism, general scientific methods (analysis, synthesis, induction, deduction). The main tools used are chronological and comparative methods, as well as content analysis, which allows combining qualitative and quantitative procedures in working with text materials.

Volzhskaya Commune is an organ of the Kuibyshev Regional Committee and the City Committee of the CPSU (b), the regional executive committee and the City Council. The frequency of output is 6 times a week, the volume is 4 bands. Electronic copies of the newspaper posted on the website of the Samara Regional Universal Scientific Library and files stored in its collections were used for source analysis. It should be noted the important role of the library staff in making electronic versions of periodicals available to the widest audience.

The empirical base includes 1541 issues of the Volga Commune for 1966-1970. More than 967 information units were selected: articles (502), announcements (203), photographs (119), notes (101), notes and songs (40), 1 feuilleton, 1 poem, numerous announcements.

Despite the anonymity of the dominant part of newspaper materials , it was possible to identify the personalities of the authors — M. Viktorova (25 units), N. Doronina (21 units), K. Chervonenko (11 units), M. Blyumina, Yu. Vechkapina, E. Tsvetnoy (9 units each), I. Podorozhansky (8 units), S. Lisetsky (7 units), etc. In some cases, the materials were supplemented with photographs. The most common pictures are B. Ananyev (27 units), A. Kukushkina (13 units), L. Shcherbakova (12 units), N. Konyakina (8 units), Z. Brynina (6 units), N. Kulikova (5 units), etc. The photo of V. Vysotsky, printed on May 26, 1967, made by G. Gutman, and brief information about the concerts of Vladimir Semyonovich that took place with great success at the Philharmonic and at the club named after him, should be considered unique for the "Volga Commune". Dzerzhinsky, on which he performed his songs for films and plays. A voluminous array of textual data requires their distribution by thematic blocks: the activities of local and touring musical groups and artists; the celebration of significant dates and anniversaries, music educational institutions; competitions and reviews; amateur music.

The information gathered allows us to generally restore the structure of the regional musical and cultural system in 1966-1970. Local institutions were subordinate to the Department of Culture of the Kuibyshev Regional Executive Committee of the Council of Workers' Deputies. The newspaper has references to the surnames of the deputy heads of the Department — L. Grachev, I. Ramzaytsev, S. Khumaryan ^[18-19].

The Kuibyshev Opera and Ballet Theater, the Kuibyshev State Philharmonic and its Symphony Orchestra ^[20-21], the PriVO Song and Dance Ensemble ^[22], and the Volga Folk Choir operated in the region. The "Volga Commune" reported on creative successes, concerts and performances of local and foreign-local collectives and artists ^[23-28]. Among the famous masters who visited the region in the second half of the 1960s — S. Richter, E. Rosner, N. Petrov, Song and Dance Ensemble of the Red Banner Pacific Fleet, violin Ensemble of the Bolshoi Theater, chorus. Pyatnitsky ^[29-34] and others.

The issues of amateur activity were supervised by the House of Folk Art, the House of Amateur Art ^[35-36]. In addition, the newspaper mentions the Kuibyshev branch of the All-Russian Choral Society, the People's universities of culture (Otradny, Syzran, Pokhvistnevo, Chapaevsk), palaces of pioneers and schoolchildren in Kuibyshev and Syzran that performed an educational function ^[37-43].

Content analysis makes it possible to clarify the details of the musical and cultural landscape, the geography of concert and theater venues. In addition to the scenes of musical institutions, events of various kinds were held in Kuibyshev in the city youth Club, the Central Park of Culture and Recreation, the District House of Officers, the Sovremennik House of Culture, the Kirovsky District Palace of Culture, the Kinelsky Railway Workers' House of Culture, district houses of Culture (for example, in Bogatoye, Pokhvistnevo), etc. ^[44-51] and new sites at the factories erected during the "golden five-year plan". For example, in 1968 it was pointed out that the collective of the Kuibyshev Opera and Ballet Theater became a frequent guest of the builders of the automobile giant (VAZ) in Togliatti ^[52].

Musical education was implemented at three levels: higher (music and pedagogical faculty of the Kuibyshev Pedagogical Institute, secondary (Kuibyshev Music School, Kuibyshev Cultural and Educational College), primary (a network of music schools - 11 schools in Kuibyshev, one DMSH in Syzran, Otradnoye, Bolshaya Glushitsa, Kinel-Cherkassy) ^{[38, 53-58]}.

The provision of instruments was carried out in Kuibyshev by a piano factory, a House of records, a music salon in an atelier. Of the information resources mentioned in the "Volga Commune", it should be noted the funds of the music and music department of the regional library, the music editorial office of the Kuibyshev radio, the Kuibyshev Television Studio, etc. ^[59-63]

Many publications have been devoted to the versatile development of professional and amateur vocal and choral culture. The Volga Folk Choir, a laureate of international and All-Union competitions, created in 1952, has become an image for the region. Various aspects of his activities found an echo in the press (at least 10 units). Honored Artist (hereinafter — Z. A.) of the RSFSR, artistic Director M. Chumakov has repeatedly introduced readers to the work of the choir, with soloists, repertoire, etc. The tour geography was very extensive only in the jubilee year of 1967: Moscow (the festival of arts "Russian Winter"), the Amur Region, Sakhalin, Primorsky Krai, Yakutia, Kamchatka, Ukraine, Crimea, Central Asia, the Baltic States, Moldova (the festival "Friendship of Peoples"), small towns and collective farms of the Kuibyshev and Ulyanovsk regions ^{[64, 65]}. Recognition of the merits of the Volga Folk Choir was also manifested in the fact that a batch of famous bronze bells from Valdai was donated to him^[66].

One of the established and notable collectives was the academic choir of the Kuibyshev Aviation Institute (founded in 1961 with the support of Rector V. P. Lukachev) under the leadership of V. M. Oshchepkov, Dean of the Music and Pedagogical Faculty of the Kuibyshev Pedagogical Institute. From a small group of amateurs, he grew into a team that received rave reviews in Kuibyshev, Kazan, and major Baltic cities, awarded the title of people's, who had success at the All-Russian and All-Union amateur performances. Thus, the "Volga Commune" wrote about the reaction to his ten-day tour in Kiev: at St. Sophia Cathedral, Polytechnic Institute, Institute of National Economy, Kiev University, at Boryspil Airport, at the Bolshevik factory ^[67].

The Kuibyshev Aviation Institute is associated with the name that gave rise to the tradition rooted in the student initiative of the 1960s. In 1968, the tourism instructor of the sports club "Metal" D. Bakk published an article about the first regional festival of amateur tourist songs named after V. Grushin, a student who organized a small ensemble "Singing Beavers" (in the article — "Beavers") and tragically died on the Ude River while rescuing drowning people in August 1967. The first festival gathered about 800 people in Zhiguli on the Cordova "Deck". In front of the tents, a stand was set up with photographs of "Beavers", V. Grushin, the place of his death with a bas-relief carved from a rock and the text of a ballad by student B. Esipov: "I do not know where the pole of fun is, I do not know, the pole of boredom is where, I only know, You discovered the pole of courage, Val, on the Oude River." The guys heard Valery's voice recorded on tape, and for a long time they did not let go of A. Golovin, V. Krivsanov, V. Lunev, the artist of the river port V. Markevich, who received the first prizes, from the "stage". Diplomas were awarded for songs performed by tourists "Pennant", "Meridian-50", solo numbers by A. Barkar (Polytechnic Institute) and V. Yukhnevich ("Metal") ^[68].

The state of amateur music was often in the spotlight of the press: the work of soloists and collectives, festival, viewing, festive events ^[69].

Another tradition that survived the Soviet period and has been developed in modern Russia is the regional festival of amateur art of higher educational institutions "Studvesna". For example, according to data for 1969, the chamber orchestra of the Aviation Institute, dance groups of the pedagogical and Togliatti Polytechnic institutes, the pantomime ensemble of the Kuibyshev civil engineering and Polytechnic institutes, numerous vocal-instrumental and vocal groups from the Electrotechnical Institute of Communications, pedagogical and medical institutes (the Vita ensemble) performed at the final concert in the district House of Officers ^[70].

Serious attention was paid to the promotion of music from different peoples of the world and the country. Among the directions of the USSR's foreign policy in the second half of the 1960s was the strengthening of ties with socialist and developing states. In this context, the notification of readers about specialized musical events is understandable from an ideological standpoint. So, in 1968, data was posted on the receipt by the Kuibyshev House of records of a large batch of recordings by Cuban jazz and pop masters "from the distant island of Freedom" and their sale through the Samara Central Department Store and other stores ^[71]. Such actions include, for example, an evening concert on the theme of friendship between the Soviet and Vietnamese peoples, about which a note was written by the teacher of Kuibyshev Secondary School No. 92 M. Vasilyeva ^[48].

A special place is occupied by information relevant in the modern context of international politics about cultural ties between the USSR and Bulgaria. Honored Artist of the RSFSR, founder of the Volga Folk Choir P. Miloslavov, dedicated an article to a concert of song art with the participation of an orchestra of folk instruments conducted by L. Angelov and other guests. The arrival of the Folk Song and Dance Ensemble of the Starozagorsky district is characterized as a great event in the life of Novokuibyshevsk. In the "Volga Commune" they placed a photo of the laureate of one of the republican amateur performances of P. Ivanov, a master of playing the gydulka ^[72]. In the spring of 1967, D. Dimitrov, the chief conductor of the Starozagor Folk Opera, and L. Tsankova, the soloist, were in Kuibyshev with the performance "Tosca" by J. Puccini and a concert with the participation of soloists of the Kuibyshev Opera and Ballet Theater ^[73-74]. It is symbolic to place the texts of two articles visually intertwined on the strip — L. Bakhirev and D. Dimitrov (translated from Bulgarian by S. Lisetsky) ^[75-76].

An important step towards the intensification of international cultural ties was the ten-day visit of the Bulgarian delegation under the leadership of G. Kutev, timed to celebrate the 50th anniversary of the October Revolution in October 1967, as part of a large young creative team from Kazailyk, Starozagorsky District — the academic choir of the F. Engels Industrial Association and a dance group. The program of the stay was rich: a welcome rally with the participation of the party leadership of the region and other representatives, concerts of Bulgarian artists at industrial enterprises, including at the Maslennikov plant (ZIM), a trip to the homeland of V. I. Lenin to Ulyanovsk on a motor ship, and so on. Benevolence and warmth of the relationship are reflected in the caption under the photo made by A. Kukushkina: "in the picture: our guests are envoys of sunny Bulgaria on the Kuibyshev land", "in the picture: the performance of dear guests". The touring repertoire includes a cantata about friendship, Bulgarian and Russian folk songs, classical works ^[77-78]. At the end of November 1967, the Kuibyshev Opera and Ballet Theater was preparing a comic opera by the People's Artist of Bulgaria, winner of the Dimitrov Prize P. Hadzhiev "Five million with a tail" (Pet million and not from the mountain (1965, Sofia)) ^[79-80]. On January 4, 1968, N. Yakovlev, Professor, Doctor of Historical Sciences, chairman of the Kuibyshev branch of the Soviet-Bulgarian Friendship Society "Bulgaria — USSR" ^[81] published a review article for the premiere in December 1967, defining it as "a significant phenomenon in the musical life of the city", "a fruitful creative community of theatrical figures of the two fraternal countries" ^[82]. In addition, the "Volga Commune" featured notes and verses of the Bulgarian folk song "Hey, the Balkans!" (Russian text by V. Suslov), "Bulgaria — Russia" (art. I. Dremova, music by M. Blumina) ^[83-84].

The music of the peoples of the Soviet Union also enjoyed success among the Kuibyshevites. Ukrainian musicians from the Rivne State Ukrainian Musical and Drama Theater named after N. Ostrovsky, the Odessa Opera and Ballet Theater, the Kiev State Academic Opera and Ballet Theater named after T. G. Shevchenko, the Donetsk Musical and Drama Theater named after Artem, the State Ukrainian Folk Choir named after Ropes, etc. ^[85-94]

The Belarusian component manifested itself in various forms. So, in a series of creative evenings of famous Soviet composers, one of the events involved the participation of leading Belarusian authors (N. I. Aladov, D. R. Kaminsky, musicologist L. Ya. Rakova). Concerts of the State Symphony Orchestra of the Byelorussian SSR (conductor V. Kataev) were held, which attracted the laureate of the international piano competition V. Shatsky and Z. A. BSSR violinist L. Gorelik ^[95]. In 1968, a.a. BSSR, a soloist of the Belarusian Opera and Ballet Theater I. Sorokin came to Kuibyshev ^[96]. The PriVO Song and Dance ensemble also maintained ties with the fraternal republic. So, in April 1966, the soloist E. Prusakov informed readers about the imminent premiere of a song sent to the collective by the Belarusian composer D. B. Smolsky to the words of the poet M. Ash tree "Obelisks" dedicated to "those who stood to death, who defended our lives, who bequeathed us peace on earth" ^[22].

The Kuibyshev audience was introduced to the works of the State Variety Orchestras of Armenia and Azerbaijan, the Ossetian Musical Drama Theater, the Georgian Variety Ensemble "Inguri" and the music Hall "Rero", the State Orchestra of Kazakh Folk Instruments named after him. Kurmangaz, children and artists from Uzbekistan (soloist Yu. Turaev) ^[97-114].. Traditionally in demand were the Roman Theater, the Moscow Gypsy Theater, the ensemble of Moldovan Gypsies ^[115-117].

An important part of the official holiday culture was Leniniana. At least 13 publications are related to its musical form: thematic concerts, annual April festivals ^[118]. Memorable Lenin concerts became bright events, as leading soloists and collectives of the country were invited to participate in them: for example, the State Russian Academic Choir under the leadership of the USSR O. Sveshnikov, the State Symphony Orchestra of the Moscow Philharmonic (conductor Z. A. RSFSR K. Kondrashin, soloist — USSR E. Gilels), State Dance Ensemble "Berezka", Leningrad Academic Chapel named after M. I. Glinka, Leningrad Symphony Orchestra, Leningrad Chamber Ballet, Kuibyshev Symphony Orchestra, n. a. USSR composer V. Solovyov-Sedoy, Z. A. RSFSR B. Bentsianov, E. Piekha, E. Khil, composer S. Pozhlakov, etc. ^[119-128]. The Kuibyshev Philharmonic organized festivals, festivals at stadiums, art trains in the districts of the region, creative reports of the country's largest musicians, competitions for the best performance of musical and literary works ^[129]. In the "Volga Commune" there were notes and lyrics of songs (for example, "Lenin and I" by music by N. Shakhmatova, words by A. Churkin, "About Our native Ilyich" music by L. Drugov, words by V. Alferov), publications ("Lenin and Music", "Ilyich loved to listen to it" by I. Alyushina, "Ilyich and the Folk Song" by P. Lebedev) ^{[118, 130-133]}.

Thus, the newspaper "Volga Commune" was the most important information resource of the Kuibyshev musical and cultural model. She was a full-fledged member of the ideological system, adapted the propaganda installations emanating from the center to the local socio-cultural conditions. "Volga Commune" is a representative media reflecting in chronological order the most important events in the world, the country, the region and settlements, including musical ones, containing a spectrally rich factual. The data of the regional press make it possible to overcome the mosaic and reduction of representations obtained from archival and other types of sources.

In general, the research potential of the "Volga Commune" is as follows: the ability to reconstruct the structure of the regional musical and cultural system (management, theater, concert, educational institutions, material, technical and information resources), to restore significant events of musical life from the official position in chronological order (chronicle format) and the activities of professional and amateur musicians and collectives. The materials of the periodical press are an integral and important part of the source base on the problems of the history of national culture, including the official holiday, the history of Soviet everyday life in the era of "developed socialism", musical local lore, etc.