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Philosophy and Culture
Reference:

The legacy of the Altai composer Afanasy Stepanovich Anokhin as a focus of the formation of the national choral culture of the mid-twentieth century

Nikitina Tatiana Aleksandrovna

Senior lecturer of the Academic Choir Department, Altai State Institute of Culture

656055, Russia, Altai Krai, Barnaul, Yurina str., 277

tany.ru88@mail.ru
Zhernosenko Irina Aleksandrovna

Doctor of Philosophy

Associate Professor, Professor of the Department of Humanities, Altai State Institute of Culture

656055, Russia, Altai Krai, Barnaul, Yurina str., 277

irina.jernosenko@gmail.com

DOI:

10.7256/2454-0757.2023.11.44049

EDN:

YMBNYS

Received:

17-09-2023


Published:

02-12-2023


Abstract: The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage.


Keywords:

choral culture, Altai Territory, heritage preservation, musical heritage, regional composer school, Altai composers, Afanasy Stepanovich Anokhin, music history, intangible heritage, music education

This article is automatically translated.

The term "intangible cultural heritage" in the modern geopolitical and socio-cultural situation has received the status of a strategic resource of Russia's cultural policy, which was enshrined in Presidential Decree No. 808 dated 12/24/2014 "On Approval of the Foundations of State Cultural Policy" (Decree of the President of the Russian Federation No. 808 dated 12/24/2014 "On Approval of the Foundations of State Cultural Policy". The document was provided by Consultant Plus www.consultant.ru Date of preservation: 30.03.2021 and the Official Internet portal of legal information http://www.pravo.gov.ru , 12/25/2014, "Collection of Legislation of the Russian Federation", 12/29/2014, N 52 (Part I), Article 7753) focusing the attention of state and municipal cultural management bodies, as well as researchers on the preservation and representation of regional cultural heritage. Indeed, everywhere in Russia there is a problem of the loss of creativity of regional cultural figures (including musical ones), often undeservedly underestimated during their lifetime. Therefore, sometimes the unique heritage of regional composers requires a special set of measures aimed at preserving and popularizing their names and works created by them.

The study of archival data allows you to learn many details of the regional musical culture of the last century, historical facts and thoughts of musicians. Partially, the results of the work of many regional figures of musical art of the 20th century are preserved in the system of funds in state archives and museums; much is stored in family archives and private collections. But in most cases, these works are not known to the general public and, moreover, have not been properly evaluated by researchers. Therefore, it is extremely important to have time to preserve unknown or unpublished pages of their work, since there is a high probability of losing the memory of outstanding phenomena of regional musical culture, which make up the national culture.

One of such bright creative personalities in the musical culture of the Altai Territory in the twentieth century was Afanasy Stepanovich Anokhin, a composer and teacher, a prominent figure in musical culture, who, according to the composer himself, "considered musical enlightenment to be the main business of his life and served this faithfully – to the best of his abilities and talent" [1, p.1].

The purpose of this work is to explicate the process of formation of the choral culture of the Altai Territory in the twentieth century through the reconstruction of the creative heritage of the composer of the Altai Territory A. S. Anokhina. The following tasks follow from this goal: to analyze the composer's creative biography, recreate the scope of the composer's creative heritage and identify the role and place of A.S. Anokhin's personality in the context of the formation of the choral culture of the Altai Territory. The object of the study of this work is the formation of choral culture in the Altai Territory, the subject is the creative legacy of composer and musical figure Afanasy Stepanovich Anokhin. The data stored in A. S.'s personal fund served as the material for this study. Anokhin in the State Archive of the Altai Territory, consisting of 22 files; archival data from the collections of Andrei Viktorovich Anokhin and Valerian Petrovich Vvedensky from the repository of the State Museum of the History of Literature, Art and Culture of Altai (GMILIKA); data from a literary reference source "Musical Encyclopedia of the Altai Territory".

Afanasy Stepanovich Anokhin is the nephew and pupil of Andrei Viktorovich Anokhin, a famous musical figure of Siberia, the founder of professional music of the Altaians, a scientist ethnographer, composer, choral conductor, educator, local historian [2, p. 35]. A.V. Anokhin made an invaluable contribution to the formation of Siberian ethnography: his works on the study of shamanism, mythology and musical culture of the Altai Turks today constitute the golden fund of Russian ethnography. A.V. Funds Anokhin's works are kept in several museums in Russia: at the Museum of Anthropology and Ethnography named after Peter the Great (Kunstkamera), the Tomsk Regional Museum of Local Lore named after M. B. Shatilov, the National Museum of the Altai Republic named after A. V. Anokhin, the State Museum of Literature, Art and Culture of Altai (Barnaul) [3, p.40] – and are of great research value.

Also, part of the legacy of Afanasy Stepanovich Anokhin is kept in the fund of Valerian Petrovich Vvedensky, a famous Barnaul musician, teacher and conductor. In the early 1950s, Valerian Petrovich moved to Altai and until 1957 led the orchestra of folk instruments at the Barnaul Melange Plant Club. Later, he taught classes on stringed instruments in children's music schools and the Barnaul Music College.

The personal archives of the figures of Altai musical culture presented above keep memories and records of the activities of both the authors themselves and many other figures of regional culture, including the activities of A.S. Anokhin.

After the 1917 revolution, choral art in the young republic was going through a difficult period of mastering new ideas, themes and images. New political views and ideas required composers and performers to restructure their consciousness and understand new vectors of development of the creative environment. The transition from the music of the modern era at the turn of the XIX-XX centuries, reflecting the inner spiritual world of man, to music filled with revolutionary ideas and aimed at mass creativity and performance turned out to be difficult.

A.S. Anokhin's activity, practically throughout his life, was connected with the musical culture of the Altai Territory (amateur and professional): he was a teacher and lecturer, musicologist, composer and conductor.

A. S. was born. Anokhin was born on September 2, 1904 in Biysk. Possessing good vocal skills, by the age of 16 he began working as a chorister in the state choir of the city of Biysk. The young chorister took music lessons from his uncle, Andrei Viktorovich Anokhin, and later Afanasy Stepanovich would participate in Andrei Viktorovich's ethnographic expeditions. From the memoirs of A. S. Anokhin can understand the state of regional choral culture at that time: "In those years Biysk had good-quality artistic forces driven into the province from the central regions of the country by the civil war and famine. Singing in the choir, attending city concerts and dramatic performances helped me then to feel the power of art and follow the path of music" [4, OF 16789, p.1]. Afanasy Stepanovich received his secondary school education in Barnaul, while he tried his hand as a teacher of choral singing in elementary grades. Thus, his future fate was determined. The love of music and choral culture led the future composer to further study and receive secondary special education.

The musical life of the provincial city of Barnaul during this period is gaining new momentum: new collectives are being organized, such as: symphony orchestra of the Public Assembly – head A. I. Klaster, the Great Russian orchestra at the trade school under the direction of L. S. Rakin [5, p. 90]. The activities of amateur musicians are actively developing; performing circles are being created. So, the string quartet organized by A. G. Basarev was especially popular during this period. Secular choral performance was just beginning its development at that time. To activate this process, the creation of a choral society was initiated (1911-1916), which was named the Second Siberian (the first choral society was organized in Tomsk). Among the tasks he faced were "organizing concerts, opening choral classes, and creating a music library for music lovers. The board of the society consisted of L. D. Laptev, I. N. Kokshenev and V. V. Titov" [2, pp. 139, 143].

By March 1917, there was an increase in the popularity of the choral society in the Barnaul environment, which led to the expansion of its sphere of activity and subsequent transformation into a musical society. The main task facing the musical community at that time was to prepare and open the National Conservatory in November 1917. Later, in 1920, the Workers' and Peasants' Conservatory was opened on its basis (now it is the children's music school No. 1). In the personal archive of the ethnographer A. V. There is evidence that outstanding musicians and teachers of Altai taught at the Workers' and Peasants' Conservatory: A. I. Marcinkovsky, K.N. Nechaev and others [2, p. 121]. "K. N. Nechaev taught at two-year courses of workers and school choirmasters at the Workers' and Peasants' Conservatory. Then he was replaced by A. V. Anokhin is a major Siberian musician" [2, p. 140].

In the context of the flourishing of musical culture in the region, the creative personality of A. S. crystallized. Anokhin, full of enthusiasm and new ideas, aspired to new projects for organizing the musical life of Barnaul. But not everything worked out as planned for the young musical figure.

Some sources represent A. S. Anokhin was an amateur composer, but Afanasy Stepanovich was a professional composer. According to his autobiography, in 1928 he entered the Tomsk Music College in the theoretical composition class [4, OF 16789, p.1]. In his memoirs, which are kept in the State Archive of the Altai Territory, Afanasy Stepanovich describes the entrance tests at the college, where he "passed a theoretical survey and presented 2 romances of his own making. I remember one of them was based on poems by S. Yesenin “I am tired of living in my native land" [1, d. 3, p. 21]. Also in his memoirs, the composer describes his difficulties during his studies: This is both a poor financial condition and unpleasant ideological "swings" in the education system, such as, for example, the clash of classical music and the directions prescribed by the Russian Association of Proletarian Musicians (RAPM). According to the association, "in the field of musical creativity, the creation of Soviet mass songs was brought to the fore. <...> According to RAPM, [it, musical creativity, T.N., I.J.] will begin in a clean and bare place (without a speck of dust from the lived heritage) the path of true proletarian music" [1, D.3, p. 25]. Undoubtedly, this state of affairs did not suit teachers who built their teaching systems on the classical approach, and for this they often had to listen to accusations that "they play classics a lot and do not expand the repertoire of Soviet authors, although his choice was negligible" [1, D.3, p.26]. "Only folk art and some works by Beethoven (Pathetic Sonata, "Appassionata", overture "Egmont", opera "Fidelio") and Mussorgsky (vocal satire, "Lullaby to Eremushka", "Forgotten") were allowed. And, for example, Glinka's music was called noble; Tchaikovsky, Rachmaninoff and Chopin were declared whiners" [1, d. 3, p. 22] (spelling A. S. Anokhina). The persecution of lyrical music and fine examples of classical works led to excesses in the performing and composing works of that period of Soviet history.

According to the notes left by Afanasiy Stepanovich, it is clear that during his studies he did not try to create mass songs, but tried to penetrate into more complex forms, and this led to sad consequences. "At about the end of May 1931, an open concert of plays by students of the theoretical composition class took place at the college <...> I showed a piano prelude (in C minor) and two vocal pieces" [1, d.3, p.65] the final statements of the "speakers" after the performance were very difficult for the student: "They confirmed the presence in my works of the technique prescribed by the course, but condemned my lack of pieces – and in particular, fashionable then mass songs on the themes of today. The chairman of the trade union committee said: we supposedly taught the graduate the rules of writing, but overlooked his apolitical lyrics, imitation of Tchaikovsky, and Scriabin; therefore, I must now stop doing such an unfit thing" [1, D.3, p. 66]. The young composer was not a denier of modern ideology, but he did not agree with RAPM's methodological and ideological guidelines. His studies at the college ended, and the direction to study at the conservatory was not given to the "apolitical lyricist", so Afanasy Stepanovich could not continue his education, and, judging by the "memoirs", this greatly influenced his further path as a composer.

Afanasy Stepanovich was a very active young man, who managed to combine education and teaching activities. In 1929, he began working as a singing teacher in one of the schools in Tomsk, and in 1931 he began working at the music school at the Tomsk Music College, where he later held the position of head of the academic department.

The first third of the twentieth century was the time of the development of musical education in the Altai Territory, the pioneer in this field in the Altai Territory can be called the Workers' and Peasants' Conservatory, later transformed into the Barnaul Children's Music School No. 1 named after A. K. Glazunov, in which since 1935 A. S. Anokhin was the head of the educational department. At that time, he was actively engaged in pedagogical, organizational, and musical educational activities: he lectured on music, participated in various juries and competitions [7, p. 37].

1941 was a difficult time for the Soviet people, everyone went to the front, Afanasy Stepanovich was no exception. Having passed through the Leningrad front, the wounded young man does not lose heart, but speaks to the wounded soldiers. After the end of the war, the reconstruction of the destroyed country begins, there is a great shortage of personnel in all spheres of life. But the creative sphere takes a vector towards positive compositions filled with the joy of Victory and faith in the future. The composer returns to Barnaul and begins his active pedagogical and creative activities: head teacher, teacher of theoretical disciplines, he conducts active lecturing (he has read more than 500 lectures in cities and districts of the region), leads choral groups at the Transmash factory club and orphanage No. 8 [1, p. 37]. He continued to work at the music school until 1951, but, for health reasons, he had to finish working with children (tuberculosis began). At the same time, A. S. Anokhin begins work at the Regional Philharmonic as a lecturer, conductor of the "symphony ensemble" [7, p. 37]. And from 1956 to 1961 he worked at the Barnaul Music College as a teacher and head of the department of music theory.

Afanasy Stepanovich has been engaged in educational activities all his creative life, and it was not limited to performances at the Philharmonic. In the composer's personal fund, which is kept in the State Archive of the Altai Territory, in case No. 11, as well as according to O. N. Dudareva, "the sayings, aphorisms, proverbs, thoughts about music collected by Anokhin are stored, which once again show how conscientiously, painstakingly Afanasy Stepanovich treated any case. On small yellowed leaves, written in his hand, there is a huge work on the study of such big names as I. Brodsky, V. A. Sukhomlinsky" [5, p. 10]. There are also radio scripts, lectures about the composer A. P. Borodin, a script for a lecture about a song, his reflections on the image of the Soviet Army in songs, lectures about I. O. Dunaevsky and M. P. Mussorgsky, which confirms his active activity in popularizing musical art.

In the middle of the twentieth century in the Soviet Union, the state paid great attention to the creation of various kinds of amateur creative associations and unions. Associations were created in all spheres of cultural life: journalism, cinematography, literature, theater, music, fine arts, etc. In Barnaul, on September 30, 1967, the "Creative Association of Amateur Composers of Altai" or abbreviated TOKL and A. S. was organized. Anokhin became his consultant. He was active in working with aspiring composers, including consultations on composition, harmony and music theory, arrangement and orchestration. A five-day regional seminar was held, which was led by a member of the Siberian branch of the Union of Composers of the RSFSR, G. N. Ivanov; also A. S. Anokhin organized and conducted seminars in the Biysk and Gorno-Altai sections [9]. In the personal fund of the composer and educator, correspondence with amateur composers of the Altai Territory has been preserved, where he gave detailed characteristics and advice on improving the quality of musical and literary text, evaluated works and supervised the publication of musical collections of Altai composers [1]. Afanasy Stepanovich himself took "part in all the song contests of the region <...>. In 1950 and in 1953 he participated in the plenums of composers of Siberia" [4, OF 16389/1, p. 2].

In addition to teaching and educational activities, A. S. Anokhin continued to study composition: he wrote a number of instrumental pieces, became interested in processing Altai folk songs (his love for them was passed on to him from his uncle, the ethnographer and composer A.V. Anokhina). "But the main place in his work belongs to the songs: he wrote them most of all. Many of them have firmly entered the repertoire of professional and amateur choirs, as well as singer-soloists" [1, p. 35]. The most famous songs were written by A. S. Anokhin in the post-war years and published in collections published by the regional house of folk art.

During the study of archival data stored in the State Archive of the Altai Territory and the GMILIK Museum, 99 unpublished manuscripts were identified: vocal and choral works without accompaniment, with accompaniment for piano and accordion, with orchestral accompaniment; also found notes of instrumental music for piano and cello, songs for children.

But for all the composer's activity at that time, his works were published: mostly these are works related to political attitudes or songs dedicated to the theme of love for the small homeland and the nature of Altai. Most of the compositions, such as: works of a personal nature, songs based on poems by famous poets, songs for children, as well as piano music and music for theatrical productions, remained only in the handwritten version stored in the archives (see appendix 2).

Vocal and choral compositions were created for holidays and other significant events. A distinctive feature of the songs of A. S. Anokhina is lyricism, sincerity and melodiousness [10]. In general, all the found works of A. S. Anokhin can be divided into several directions:

                         I. Instrumental music

                     II.            Popular songs

- On the topic "The Party. Lenin. The World";

- On the topic of "Altai. Virgin land;

- On the topic of "Love. Nature. Labour. Various;

- War songs;

                       III.            Children's songs

                       IV. Music for the performances of the Barnaul Drama Theater (musical notation was not found).

Most of the compositions created by A.S. Anokhin are mass songs, most often intended for performance by amateur groups. This is evidenced by the frequent reference to folk stylistics, the use of a couplet (strophic) form or with a refrain-chorus. The compositions are maximally accessible for performance and perception, have a poetic and musical language understandable to the mass listener and performer, the melodies are written in a convenient tessitura. Often, works written for a soloist also have ensemble or choral arrangements. Various accompaniment options were also found: for example, the song "Native Land" was recorded accompanied by a piano, and accompanied by a symphony orchestra.

In the list of works, we have highlighted military songs in a separate cycle. None of them were published during the composer's lifetime, but these works are the pearls of A. S. Anokhin's work.

One of these works, preserved from wartime, was written on the Leningrad front and dated January 2, 1943. It was a song based on K. Simonov's poems "Wait for me" (Appendix 1) [1, D.2, p. 20]. She was very popular among soldiers, was widely known and loved [7, p. 37]. It was preserved only in a handwritten version and eventually ceased to sound. The musical language of the work conveys all the bitterness and longing of the trials passed: Afanasy Stepanovich was in the active army from August 1941 to July 1945 and fought on the Leningrad front, then further through the territory of military operations. In between battles and after being wounded, in a hospital in Rybinsk, he spoke to the fighters, trying to brighten up the difficult conditions of wartime and the recovery period after injuries.

In a song written by A. S. Anokhin uses the full text of the poem by K. Simonov, unlike the well-known song by M. Blanter, for which the composer shortened each verse by 1/3, since the poem is not written in the usual "square" form, where each verse consists of 4 or 8 lines, but in a complex form consisting of three quatrains. In A. S. Anokhin's song, the fully preserved text sets the unhurried rhythm of a deeply personal statement. There is no poster directness in K. Simonov's text, there is no ideological duality ("good is bad"), but there is a lively, pulsating, restless thought: hope and piercing longing for her beloved, conviction and fear of losing her, exhortation and yet calm confidence that she knows how to "wait like no one else". It is this complexity of soul-tearing, but restrained feelings that set the unusual structure of the poem, which attracted A. S. Anokhina is ready to create her own song confession. The musical language of the work is the same: on the one hand, a very simple melody and a calm rhythm, and on the other, a very whimsical harmony in the climactic part of the verse, located at its point of the golden section. The first and second parts of the verse unfold in a restrained development of the usual song harmony: tonic – subdominant – dominant, where the subdominant is seasoned with tart seventh chords of the second stage, with slight deviations in the tonality of the first degree of kinship. But the end of the second quatrain, on the words "Wait when others are not expected...", the tension increases due to unexpected harmonic colors: a deviation to the third stage of the main key of the work written in D minor, rounding off with an interrupted cadence returning to the main key, is replaced by a bizarre chord of the IV high degree, completing the sentence on the dominant, accented in melody VII, a high step. At the break of the second and third quatrains, prepared by a sharp increase in harmonic tension, the climax sounds bright and clear on the foundation of the tonic and dominant in the accompaniment and on the progressive movement of descending second intonations in the melody. The decline of the climax occurs on the light flickering of the chords of the VI and III steps of D minor, giving emotional fullness to confident calmness.

The military theme in the songs did not leave the composer until the last days. The works are filled with the pain of overcome terrible events. Thus, the work "The Soldier did not return Home" written for a mixed a cappella choir to the words of V. D. Dinabursky was created in the year of the composer's death – the date on the manuscript: March 1975, with an end-to-end development and a detailed dramaturgy. He calls on his contemporaries to look back at the history of Russia, to look at the life story of everyone who went through military operations. The literary text conveys the terrible events experienced, which are reflected in the music: pain, loss, loneliness, guilt – that you survived, but your friend did not, memory and the desire to live a simple life. The repetition of the lines between the stanzas of "The soldier did not return home" sounds like a memory spell in the choir – you must not forget.

On the occasion of the 70th anniversary of Afanasy Stepanovich Anokhin, an author's concert was arranged, here is how the author describes it: "On November 18, 1974, I was honored at the Barnaul Operetta Theater on the occasion of my 70th birthday. <...> The concert went well. It bothered me, but it turned out to be a pleasant surprise in its quantity and quality; due to my shortness of breath, I did not take part in its preparation and did not know anything about it. Listening to him, I thought: only twice – at the age of 50 and at the age of 70 – I heard myself in a fairly extensive program; if this had happened before, then, for sure, I would have written more and better. <...> One must be satisfied and received" [1, D.3, pp. 61-97].

Undoubtedly, researchers have previously shown interest in the activities of A. S. Anokhin. Thus, I. V. Polteva describes the composer's legacy, stored in the funds of the GMILIK, from a museological point of view [6], O. N. Dudareva in the article "How will I appear to those who want to take a closer look at me" [5] presented a brief biography and partially published the composer's diary entries. A little more attention is paid to the biography and social activities of the composer S. V. Nesterova in an article from the Musical Encyclopedia of the Altai Territory [7].

In this work, the analysis of the composer's creative heritage is carried out from the standpoint of cultural and musicological research. Through a biographical sketch, the process of formation of choral culture in the Altai Territory is explicated and the role of A. S. Anokhin in this process is revealed.

The musical and choral culture of the Altai Territory actively developed during the Great Patriotic War and in the post-war years, and was at a fairly high level thanks to many cultural figures of that time: V. A. Lotar-Shevchenko (pianist), E. M. Katz (violinist, conductor), A.V. Anokhin (ethnographer, composer), N. N. Ikonnikov (composer), E. K. Kryuchkov (composer), E. I. Borisov (conductor, musical figure), V. Guseva (vocalist), V. Z. Semenchin (vocals) and many other performers. Every musical figure deserves special attention. Among these names, a special place is occupied by the name of Afanasy Stepanovich Anokhin, a musical educator, composer, founder of the Philharmonic orchestra, a man who served the musical art of Altai with all his soul. He was a unique personality who possessed great knowledge in the field of musical culture, constantly striving for self-education. And yet he was an incredibly humble man. His musical legacy is quite extensive, but most of it is unknown and partially forgotten. Unfortunately, there are no heirs left who would keep the memory and promote his work. Therefore, it is extremely important to represent his legacy in the regional and all-Russian musical environment. The author of this work is engaged in the identification and publication of unpublished musical material by A. S. Anokhina.  So, 4 military works were published: "Wait for me", "Escorted to the train station", "Among snowdrifts and craters", "The soldier did not return home", as well as 2 songs: "About my beloved", "Song about my hometown" in the collection "Wait for me" [14]. The task of descendants is to remember the outstanding cultural figures of their small homeland, to know and appreciate their work, to preserve and popularize the legacy left by a strong and courageous generation.

Appendix 1

 

 

2. Wait for me and I'll be back,

Do not wish for good

To everyone who knows by heart,

That it's time to forget.                   

Let the son and mother believe

In the fact that I am not there,

Let your friends get tired of waiting,

They will sit by the fire,

They will drink bitter wine

To commemorate the soul...

Wait. And with them at the same time

Don't rush to drink.

 

3. Wait for me and I'll be back,

To spite all the deaths.

Whoever wasn't waiting for me, let him

He will say: - Lucky.

Not to understand, who did not wait for them,

Like in the middle of a fire

By your expectation

You saved me.

How I survived, we will know

Just you and me,-

You just knew how to wait,

Like no one else.

 

 

 

Appendix 2

List of unpublished works by A.S. Anokhin

                              I. Instrumental music

  1. Fantasy for 2 bayans on the theme of R.N.P. "Shirokaya Street".
  2. Piano prelude e-moll
  3. Processing of two Altai melodies for violin, cello and piano.
  4. March (piano from the children's section)

                          II.            Popular songs

On the topic "The Party. Lenin. The World"

  1. Ilyich's Land
  2. Thanks to our party
  3. He's always alive
  4. The Song about Lenin
  5. Lenin reads Pravda
  6. Sing, people, about Lenin
  7. Ilyich lived in Siberia
  8. Lead the way, party
  9. May Song
  10. May has come
  11. May Day Walk

On the topic "Homeland. Altai. Virgin land"

  1. I love you, my Russia
  2. I am your son, Russia
  3. Early in the morning
  4. Birch Light
  5. Native land
  6. Altai Region is mine
  7. I'll go out, I'll go out early in the morning
  8. A song about the virgin Altai
  9. Argymak (processing of folk melody)
  10. Altai harvest
  11. The Eyes of Russia
  12. The Builder's Song
  13. Good, you're a thick rye
  14. The native land is arranged for symphony orchestra and soloist
  15. In a quiet field, in a ripe life
  16. A song about the new Altai
  17. The side is my own
  18. The Siberian region is mine
  19. Plain

On the topic of "Love. Nature. Labour. Miscellaneous"

  1.  About my beloved
  2. Across the river
  3. The kid
  4. Autumn
  5. How would I be able to
  6. Peas-peas
  7. To the babysitter
  8. You come to me in the spring
  9. There is a month above the window
  10. Where are you, sultry summer
  11. In a quiet field, in a ripe life
  12. Birch tree
  13. Kurgan
  14. The Song of the Working Fathers
  15. A lonely accordion
  16. Russian nature
  17. You come to me
  18. That we lived with you
  19. Letter to a friend
  20. Sing, nightingale, in the garden
  21. Irtyshanochka
  22. A subplot
  23. The song for the variety performance "Welcome"
  24. Farewell song from the variety review "Welcome"
  25. Sparrow
  26. The youth regiment
  27. Altai Apple tree for solo
  28. Altai Apple tree for choir
  29. Life is good everywhere
  30. The owners of the land
  31. Accordion
  32. Apple tree
  33. Golden autumn
  34. A song about a girl
  35. Willow Tree
  36. Spring, sl. Vysheslavtseva
  37. Spring, sl. Alien
  38. Cranes
  39. Lily
  40. Birch tree
  41. March 8th
  42. Like late autumn sometimes

War songs

  1. The soldier did not return home
  2. Wait for me
  3. I do not regret, I do not call, I do not cry
  4. The soldier winked at the girl
  5. Among the snowdrifts and craters
  6. Ashberry
  7. Eh, the officers teach us
  8. Requiem
  9. March of the Twelve

                       III.            Children's songs

  1. October
  2. Today is our holiday everywhere
  3. Lullaby
  4. We know a lot of songs
  5. A song about Lenin
  6. The Octobrists went to the parade
  7. Oh, yes, a Christmas tree
  8. Our Christmas tree is dressed up
  9. The song
  10. The song of the Snow Maiden
  11. Christmas tree
  12. A small Christmas Tree
  13. Colored lights
  14. Mom's Holiday

 

                       IV. Music for the performances of the Barnaul Drama Theater (musical notation was not found):

  1. "Under the Chestnuts of Prague" by K. Simonov, staged 1945-1946.
  2. "Twelve Months" by S. Marshak, staged 1946-1947.
References
1. Anokhin, A. S. (2020). State Archive of the Altai Territory. (F. R1547. – P. 1. – 22 d.)
2. Nesterova, S. V. (2011). Anokhin Andrey Viktorovich. In E. V. Ogneva, I. N. Svobodnaya (Eds.) Musical encyclopedia of the Altai Territory : encyclopedia (pp. 35-37). Barnaul: GMILIKA.
3. Chernova, A. A. & Odintsova, O. V. (2017). Museum documentation of the works of ethnographer A.V. Anokhin, as a basis for studying the musical culture of the Altai peoples. Scientific notes (Altai State Academy of Culture and Arts) : materials of the III International Scientific and Practical conference "Culture in Eurasian space: Traditions and innovations" 3(13), 40–43.
4. GMILIKA (2020). Personal fund of the composer, ethnographer and teacher Andrey Viktorovich Anokhin. Barnaul: GMILIKA.
5. Dudareva, O. N. (2001). How will I appear before those who want to take a closer look at me: From the personal fund of Afanasy Stepanovich Anokhin (1904-1975). In. O. N Dudareva (Ed.), Memoirs, diaries, letters, poems, materials of expeditions, dokl., protocols of interrogations. (pp. 8-28). Barnaul.
6. Polteva. I. V. (2014). The legacy of the composer A.S. Anokhin in the funds of the State Museum of the History of Literature, Art and Culture of Altai. Bulletin of Tomsk State University. Cultural studies and art history, 1(13), 109-113.
7. Nesterova, S. V. (2011). Anokhin Afanasy Stepanovich. In E. V. Ogneva, I. N. Svobodnaya (Eds.) Musical encyclopedia of the Altai Territory : encyclopedia (pp. 37-38). Barnaul: GMILIKA.
8. GMILIKA. (2020). Personal fund of musician and teacher Valerian Petrovich Vvedensky. Barnaul: GMILIKA.
9. Polteva, I. V. (2017) Museums of the Altai Republic as fund holders and translators of composers' heritage. Bulletin of the Kemerovo State University of Culture and Arts, 40, 66-74.
10. Nikitina, T. A. (2021). New data on the formation of the movement of amateur composer creativity in Altai. Innovative technologies in the humanitarian sphere: materials of the IX International Scientific and Practical Conference of young scientists, graduate students and applicants, Barnaul, February 21, 237-244.
11. Lyakh, V. I. & Sigida, D. A. (2015). Soviet mass song as a phenomenon of musical art of the twentieth century. Cultural life of the South of Russia, 2(57), 22-25.
12. Zorin, V.Yu., Stepanov, V.V., Tishkov, V.A., Trepalov V.V. (2023) Ethnocultural processes and ethnic policy. Retrieved from https://bigenc.ru/ethnology/text/5550736
13. Grishaev, V. F., Rodionov A.M. (2007). Barnaul. Chronicle of the city : chronology, events, facts. In V. A. Skubnevsky (Ed). Barnaul (pp. 575-622). Barnaul A. R. T.
14. Nikitina, T.A. (Ed.). (2023) Wait for me : Repertoire collection of composers of the Altai Territory A. S. Anokhin, V. I. Shardakov, E. N. Kravtsov. Barnaul: AGIK.
15. Fedoseev, V. (2013) Die Welt der russischen Musik. Wien: Steinbauer.
16. Ivanova, N. A. (2021) Historicism in Russian music of the Soviet period. Historical memory in Theory and Socio-cultural practice: the facets of transformations and the potential of comprehension, 9, 9-13.

First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the research in the article submitted for review ("The legacy of the Altai composer Afanasy Stepanovich Anokhin as the focus of the formation of the national choral culture of the mid-twentieth century") is the creative legacy of the Altai composer Afanasy Stepanovich Anokhin, which is reflected in principle in the title. The focus of A. S. Anokhin's creative heritage, indicated by the author in the title, remained poorly reflected in the article: the focus of the formation of the national choral culture of the mid-twentieth century. At the same time, the purpose of a rather lengthy paragraph devoted to the assessment of the national policy of the USSR remains unclear — what is its use for revealing the subject of the study? The focus stated by the author points to the object of research, which, judging by the title, is the formation of the national choral culture of the mid-twentieth century. However, since the author's contribution to the replenishment of scientific knowledge about the formation of the national choral culture of the mid-twentieth century is not significant in the presented article, it is difficult to say that the stated focus was sustained by the author (brought to life). The author chose the genre of a biographical essay, in which an episode with a detailed analysis of the song by A. S. Anokhin to the words of K. Simonov "Wait for me" is appropriate. The historical sequence of the narrative of the article allowed the author to reveal the biography of the composer with some previously unknown details. However, the focus indicated by the author was not disclosed based on the creative legacy of A. S. Anokhin, the reader has to guess that such a focus becomes obvious only when analyzing the composer's genre preferences, comparing the quantitative indicators of the works. Unfortunately, the author himself does not undertake any analytical efforts in this direction. In the reviewer's opinion, the inconsistency of the title and content of the article is the most significant drawback of the work, but not the only one. Surprising, for example, is the intention of the author to publish a list of published works by A. S. Anokhin (Appendix 2), while the author states that he "identified 89 unpublished manuscripts": it would be more appropriate to provide the reader with a list of unpublished notes. Since the author explains the relevance of the chosen topic by the need to preserve the intangible cultural heritage of the region, to which he refers the creative legacy of Afanasy Stepanovich, it would be appropriate to substantiate the importance of this heritage for the development of Russian choral culture in the mid-twentieth century in the region, especially if this becomes obvious by analyzing the unpublished legacy of the composer. Taking into account the significant shortcomings outlined above, it has to be stated that the subject of the study is not disclosed in the article at the level stated by the author. The methodology of the study, based, according to the author, on the reconstruction of the "creative heritage of the composer of the Altai Territory A. S. Anokhin", has not been fully implemented in practice. The genre of a biographical sketch may not be the most optimal solution. The author himself intuitively carries out not quite logical grounded analytical "inclusions" (analysis of one song, analysis of the national policy of the USSR, a list of visiting musicians, thanks to whom "the choral culture of the Altai Territory was actively developing and was at a fairly high level"), since the declared object of research is not the result of the implementation of an exclusively biographical project of an outstanding teacher and composer Altai Territory A. S. Anokhina. In the reviewer's opinion, it would be advisable in the introduction of the article, in addition to the relevance and purpose of the work, to justify the research program as a whole (object, subject, specific tasks and methods of their solution), so that the logic of presenting the results would transparently substantiate the author's thesis that the creative heritage of A. S. Anokhin is an essential part of the intangible cultural heritage of the region and Russia in general. So far, this methodological task has not been solved by the author. The author, in principle, justifies the relevance of the research topic in a reasoned manner. We can agree with him that the intangible cultural heritage of the region in each particular case is not only ethno—cultural intangible artifacts, but also the creative heritage of individual cultural figures, the study and actualization of which involves the realization of the accumulated potential of regional culture. The presented material has scientific novelty, but due to the fact that the author develops a topic already studied by colleagues (I. V. Polteva, S. V. Nesterova, A. A. Chernova, etc.), it should be specifically formulated in the introduction or conclusion in what exactly the author sees his contribution to science, what, as he believes, is the novelty of the received they need a result. The style of the text tends to be scientific, but there are many descriptions and errors of coordination in some cases (for example, "funds in state archives and museums", "and are not sufficiently represented in the scientific community", "ideas and tasks set for musicians required", "string quartet organized by A. G. Basarev", "By March In 1917, there was an increase in the popularity of the choral society in the Barnaul environment, which led to the expansion of its sphere of activity and subsequent transformation into a musical society, the main task of which was the opening of the People's Conservatory in November 1917," etc.). complicates the reading of the author's thoughts, therefore the text needs, among other things, literary proofreading and proofreading. As noted above, the structure of the article also needs to be improved: it is necessary to structure the work so that the main section of the article argues for the thesis expressed in the introduction, and the final conclusion reflects the solution of the tasks outlined in the introduction and the achievement of the overall goal of the study. The bibliography as a whole, taking into account the reliance, including on archival documents, reflects at a minimum the problem area and the regional aspect, although the lack of works over the past 3-5 years, as well as foreign literature, is the weak point of the article. The appeal to opponents is generally correct, but the author should clearly distinguish the thoughts of colleagues from his own judgments. It would be appropriate to enter into a discussion with colleagues (which of the published is valuable for the author, what the author supplements to the published, in which, perhaps, he does not quite agree). After completion, according to the reviewer, the article will be of interest to the readership of the journal "Philosophy and Culture", especially if the author presents enough arguments to his thesis that the creative heritage of the Altai composer Afanasy Stepanovich Anokhin is an integral part of the intangible cultural heritage of the region.

Second Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

In the journal Philosophy and Culture, the author presented his article "The legacy of composer Afanasy Stepanovich Anokhin as the focus of the formation of the choral culture of the Altai Territory in the twentieth century", which analyzes the composer's creative heritage from the standpoint of cultural and musicological research. Through a biographical sketch, the process of formation of choral culture in the Altai Territory is studied and the role of A. S. Anokhin in this process is revealed. The author proceeds in studying this issue from the fact that the musical and choral culture of the Altai Territory during the Great Patriotic War and in the post-war years was actively developing and was at a fairly high level thanks to many cultural figures of that time. Among these names, the author pays special attention to Afanasy Stepanovich Anokhin, a musical educator, composer, founder of the Philharmonic orchestra. His musical legacy is quite extensive, but, as the author states, most of it is unknown and partially forgotten. The relevance of the research is due to the problem of preservation and representation of regional cultural heritage. Everywhere in Russia, there is a possibility of losing the creativity of regional cultural figures (including musical ones), often undeservedly underestimated during their lifetime. Therefore, sometimes the unique heritage of regional composers requires a special set of measures aimed at preserving and popularizing their names and works created by them. In most cases, these works are not known to the general public and, moreover, have not been properly evaluated by researchers. Therefore, it is extremely important to have time to preserve unknown or unpublished pages of their work, since there is a high probability of losing the memory of outstanding phenomena of regional musical culture, which make up the national culture. The practical significance of the study lies in the fact that the author identified and published four military works by A.S. Anokhin: "Wait for me", "Escorted to the train station", "Among snowdrifts and craters", "The soldier did not return home", as well as two songs: "About my beloved", "Song about my hometown" in the collection "Wait for me". The memory of outstanding cultural figures of their small homeland will help the younger generation to know and appreciate their work, preserve and popularize the legacy left by a strong and courageous generation. In the course of the research, the author applied general scientific methods of analysis and synthesis, as well as biographical and socio-cultural analysis. The purpose of this work is to explicate the process of formation of the choral culture of the Altai Territory in the twentieth century through the reconstruction of the creative heritage of the composer of the Altai Territory A.S. Anokhin. To achieve this goal, the author sets the following tasks: to analyze the composer's creative biography, recreate the scope of the composer's creative heritage and identify the role and place of A.S. Anokhin's personality in the context of the formation of the choral culture of the Altai Territory. The object of the study of this work is the formation of choral culture in the Altai Territory, the subject is the creative legacy of composer and musical figure Afanasy Stepanovich Anokhin. The empirical material for this study was the data stored in the personal fund of A.S. Anokhin in the State Archive of the Altai Territory, consisting of 22 files; archival data from the funds of Andrei Viktorovich Anokhin and Valerian Petrovich Vvedensky from the repository of the State Museum of the History of Literature, Art and Culture of Altai (GMILIKA); data from a literary reference source of the type "Musical encyclopedia of the Altai Territory". Having analyzed the scientific validity of the problem, the author notes the presence of research interest in the composer's legacy from such art critics as I.V. Polteva, O.N. Dudareva, S.V. Nesterova, etc. The author reveals in detail the biography of the composer from the beginning of his career as a chorister in the state choir of the city of Biysk until his death in 1995. The author pays special attention to the study of the influence of the Great Patriotic War, in which A.S. Anokhin participated, on his work. In conclusion, the author presents a conclusion on the conducted research, which contains all the key provisions of the presented material. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing a topic for analysis, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study, preservation and representation of the creativity of regional cultural figures of our country is of undoubted theoretical and practical cultural interest and can serve as a source of further research. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. An adequate choice of methodological base also contributes to this. The bibliographic list of the study consists of 16 sources, which seems sufficient for generalization and analysis of scientific discourse. The author fulfilled his goal, obtained certain scientific results that made it possible to summarize the material, showed deep knowledge of the studied issues. However, the text of the article needs proofreading and editorial editing. It should be stated that the article may be of interest to readers and deserves to be published in a reputable scientific publication after the specified flaw has been eliminated.