Yakut folk song of the central (Prilensky) region: traditions of the interaction of word and music in the Dyeretia of yry in Olonkho culture

Larionova Anna Semenovna ORCID: 0000-0001-8524-6162 Doctor of Art History Chief Researcher; Institute of Humanitarian Studies and Problems of Small Indigenous Peoples of the North SB RAS 677027, Russia, Republic of Sakha (Yakutia), Yakutsk, Petrovsky str., 1, office 412 fasdert2@mail.ru

Introduction. In ethnography, tradition is the archetype of every nation. Kirichenko writes that tradition is "a system of norms, ideas, rules and patterns that has developed as a result of accumulated experience, which is guided in its behavior by a fairly extensive and stable group of people <...> "tradition" is akin to the concept of "canon" ^{[6, p. 18]}. An ethnic tradition is formed due to historical memory in a traditional society, the memory of the people. In this regard, the ethnic tradition of the Yakut folk culture is preserved in the national memory as a canon, including in terms of the ratio of word and music in the Yakut folk song, the study of which is currently insufficiently developed. In this regard, the issues of studying the tradition of interaction between the verbal text and the melody in the Yakut folk song become relevant.

The purpose of the study is to study the tradition of the interaction of word and music in the Yakut folk songs of the Dyereti yrya in Olonkho.

Tasks:

1. To study the methodology of M.G. Kondratiev in the ratio of word and music and the problem of the interaction of the verbal text and the melody of I.V. Stepanova in a folk song;

2. Show the olonkho song traditions of the central (Prilensky) region;

3. Consider the songs of dyerethiya yrya in olonkho by U.G. Nokhsorov and P.P. Yadrikhinsky;

4. To identify the Yakut traditions of the interaction of word and music in the songs of dyeretia yrya from the Olonkho central (Prilensky) style of singing.

Materials and methods. The research methodology is based on theoretical developments in ethnography by A.I. Gogolev and O.V. Kirichenko, in philology by N.N. Toburokov, in folk music by M.G. Kondratieva, N.N. Nikolaeva and I.V. Stepanova.

In this work, the author relied on the method of comparative analysis. The quantitative rhythm of the chant (M.G. Kondratiev's approach) is compared with the structure of the verbal series (N.N. Toburokov's method).

The connection between words and music was studied from the point of view of intonation, metrorhythmics and composition in various song cultures, including the Yakut one, from the standpoint of the connection of the content of a verbal text with the intonation patterns of melody. Until now, musicology has been about communication. Such studies have not yet made it possible to fully explore the relationship between word and music in the folklore songs of the Sakha people. In this regard, in our opinion, in traditional songs, the ratio of words and music should be considered to a greater extent not in connections, but in interaction, which are suprasemantic in folklore vocal works. This problem is raised in the work of I.V. Stepanova "Word and music: Dialectics of semantic connections". This question was developed by her in Russian song folklore. In her opinion, it should be borne in mind that "the semantics of folk tunes are fundamentally elusive, close to zero, and the tunes themselves are suprasemantic. <...> The poetic formula is extremely semanticized, the musical formula is suprasemantic, close to pure abstraction, which at a very high level turns almost into an identity. At the level of folklore poetics, they demonstrate complete synonymy, which is due to the action of the same principles: verbal formulas generalize traditional meanings, melodies are typical turns of national intonation thinking. Both serve to affirm timeless values" ^{[11, pp. 10-11]}. So, in Yakut folk songs of the dyereti yry style in olonkho, similar melodies are superimposed on words of various contents, for example, on the one hand, they express positive emotions in the songs of good heroes, on the other – tragedy in the song lamentations of captive female characters.

In this regard, in the folklore tradition, other grounds are required to determine the relationship between words and music, not such as in a professional vocal song. Therefore, the clarification of the features of these interactions in the traditions of the Yakut folk song, in our opinion, should be based on the rhythmic patterns of Yakut folk songs. because the core and unifying concept in the organization of poetic speech and melody in early folk monodic singing is rhythm. N.N. Nikolaeva writes: "In folklore songwriting, the word and the tune are closely related Neither the melody of the folk song nor its poetic text existed separately. Based on such an organic continuity of the sides of the whole, the rhythm of the chant should be considered in the unity of the rhythm of the verse" ^{[8, p. 46]}. The author argues that in the Dyereti of the Yrya Prilensky tradition, "rhythm is one of the active expressive means. In contrast to the strict economy of rhythmic resources, which reveals itself in the Vilyui manner, the rhythmics of the Prilensky singing style are diverse and complex. Its ornamental character is achieved by combining and comparing bright, convex rhythmic patterns" ^{[8, p. 53]}. The analysis of dageren yry showed a different picture. N.N. Nikolaeva concludes "that in dageren yry, which has a free poetic verse, a clear metrorhythm of the melody acts as an organizing principle that subordinates the poetic text of the song" ^{[8, p. 58]}.

In modern research, the fundamental principles of research are not the relationship between the content of a word and intonation in a melody, but the interaction of rhythmic structures in the relationship of a verbal text and a tune, and the methodology of M.G. has become decisive in this new direction in folklore songs. Kondratiev, in which quantitative rhythmics is developed in detail in comparison both with the structure of the verse and with its quantitative rhythmics in the Chuvash folk song in the work "On Rhythm in the Chuvash folk Song. On the problem of quantification in a folk song" (1990). He considers the quantitative rhythmics of Chuvash folk music as a ratio of long and short durations. It should be borne in mind here that musical quantitative rhythmics are not identical to meter, as is commonly believed in literary theory. Meter in music, unlike quantitative rhythmics, is a measure that determines the magnitude of rhythmic constructions up to small compositional forms (for example, period), and represents a kind of coordinate grid of strong and weak fractions, with the same distances between the fractions. M.G. Kondratiev also believes that as a single rhythmic element and the basis of research there should be a syllogorhythmic period and the study of syllogorhythmic groups within the syllogorhythmic period. Perhaps, in the future, there will also be a description of hierarchically lower-level units than the syllabic period. Such as a rhythmic cell or a foot ^{[9, p. 69]}. The research methods were comparative and mathematical approaches.

Results and discussion.

Song traditions in olonkho of the Prilensky (central) region of Yakutia. In the Yakut folk song, the traditions of performance have been reflected in the formation up to the present time of various elements of the Sakha folk song, including the ratio of word and music, which are most vividly found in the melodies of dyeretia yrya (defined as a long, smooth song with a free metric and with guttural overtones of kylys ^[10], while in "In the Yakut-Russian dictionary" this term means only a long-drawn song, songs with guttural sounds are expressed by the phrase kylyhahtaah yrya ^{[13, p. 529]}), as indicative of the national style of Yakut folk singing. To a greater extent, the traditional correlation of verbal and musical texts is observed in the ancient genre of Sakha folklore, which is olonkho.

The ancient origin of the olonkho verse structure is confirmed by the study of their foundations by G.M. Vasiliev. In his monographic study "Yakut Versification" (Yakutsk, 1965), when analyzing the seven-syllabic structures of the Yakut Osuohai syllabic verse, he writes: "The syllabic system of versification has been widespread among the Turkic peoples since ancient times. The largest experts of the Turkic languages in folk poetry have established that the syllabic semisyllabic is the basis of the most widespread and oldest form of Turkic verse" ^{[1, p. 47]}.

V.M. Zhirmunsky believed that the Yakuts preserved in the epic "an ancient tradition from the time of the Turkic khaganate" ^{[4, p. 68]}. According to the famous Yakut ethnographer A.I. Gogolev, the Yakut heroic epic appeared as early as the 1st century BC. He writes: "the transition to heroic-epic themes was outlined, in all probability, in the second half of the I millennium BC" ^{[2, p. 11]}. Later, other researchers of the time of the appearance of olonkho attributed its dating to even earlier times than the period of the Turkic khaganate. In any case, a large number of elements of the Yakut heroic epic have been revealed in mythology, linguistic parallels and other layers from the Hunnic and Scythian periods. In any case, song fragments were necessarily present in the Yakut epic, and at the time of the appearance of olonkho in the I century BC, the melodies of Yakut legends already existed. Therefore, hypothetically, the melodies of the Yakut legends themselves arose much earlier than the I century BC, the time of the appearance of olonkho.

Currently, various innovative and modernization processes of the Yakut folk song, and due to the absence of olonkho audio recordings up to the 19th century, the traditions of the connection of word and music in Yakut folk songs of the dyeretia yrya from Olonkho can be most clearly found in earlier existing audio recordings of classical olonkho. In this regard, the songs from olonkho performed by U.G. Nokhsorov from Amginsky ulus, which were recorded in Moscow in 1946, stand out. V.V. Illarionov writes about this: "After the Great Patriotic War, a rich repertoire was recorded, live voices of famous folk singers S.A. Zverev, U.G. Nokhsorova, L.N. Tournament in the studio of the Tchaikovsky Conservatory. In studio conditions, Ustin Nokhsorov was recorded singing a toyuk song of different characters to different motifs especially for young artists who were engaged in a musical drama, then an opera based on Olonkho "Nyurgun Bootur the Swift". Later, this recording was re-recorded on a gramophone record and distributed as a canon of performing toyuk songs from olonkho to the delight of music lovers. Ustin Nokhsorov's style of performance, which had followers, has now become traditional" ^{[5, p. 39]}.

The songs of the central (Prilensky) regional style of performance, called tardan yllyr (sings with chants), were the basis on which the rest of the regional singing styles were formed and the process of penetration of the Yakut traditional song took place gradually, moving from the central regions to its periphery, which corresponds to the basic concept of wave settlement of the territory of Yakutia by the Yakuts, widespread in science. The central (Prilensky) style of performance in the dyereti of yrya is characterized by the flowery nature of extended chants, characterized by a variety of melodic intonation and rhythmic contours. The kylysakhs in them sound like constant throat calls to the main tune.

Important for the analysis of the correlation of words and music are the notations of Yakut folk songs. In them, the verbal part is adequately recorded vertically under the sounds with which they are sung. Using such notes, you can most accurately analyze the relationship between words and music and the changes that occur in them during the singing process. According to the songs of the dyeretia yrya olonkho of the central (Prilensky) region, there are musical transcriptions performed by U.G. Nokhsorov and P.P. Yadrikhinsky, as the most famous olonkhos, produced by V.G. Grigorieva – these are the chants of the hero Yuryung Walan from olonkho U.G. Nokhsorov "Yuryung Walan" ^[3]. The notation of the melodies was also performed by V.S. Nikiforova based on the recordings of olonkho "Yuryung Walan", published in 1993 ^{[7, pp. 58-59]} and N.N. Nikolaev based on olonkho "Virgo-Bogatyr Jiribina Jirylatta" by P.P. Yadrikhinsky, published in the same year ^{[8, p. 130]}. N.N. Nikolaeva's notation was made from an audio recording by E.E. Alekseev in 1977.

For the analysis of songs from olonkho, we relied on the notation of olonkho U.G. Nokhsorov and P.P. Yadrikhinsky as universally recognized Olonkhosuts of Yakutia, bearers of the primordial traditions of Yakut singing. A folk singer, a student of the famous olonkhosut Chebiya – U.G. Nokhsorov (1907-1951) from Amginsky ulus is a striking figure and represents the central (Prilensky) style of singing. The worldview of U.G. Nokhsorov was formed largely under the influence of folk philosophy and beliefs, perceived from childhood in the peasant environment. His repertoire included all genres of Yakut folklore, from olonkho to small-volume songs. He also knew shamanic rituals perfectly. P.P. Yadrikhinsky–Badyele (1901-1979) from the Kobyakonsky nasleg of Namsky ulus is a famous Yakut olonkhosut and folk singer-improviser. He has a very large repertoire, which he learned from his predecessors and preserved the traditional, most valuable national thing that was in the Yakut olonkho. P.P. Yadrikhinsky was an active organizer and participant of amateur performances, carried out a club staging of olonkho from his repertoire.

Traditions of the correlation of syllabic structures of verse and quantitative rhythmics of chant in the dyereti of yrya in olonkho. The basis of the traditions is the canon, which has been formed since ancient times. It is known that in the verbal text of olonkho, the canonical is the introduction with its picturesque description of the Middle World. The canon or rule in folklore music is established due to the formula of the melody itself. In the verbal text, "the formula is an ideal paradigm of the folklore word, concentrating patriarchy, suggesting "rotation in a closed circle", constant reactualization of traditional meanings. That is why a conditional, outwardly schematic formula has a greater reality in folklore than the immediate reality found in the text" ^{[11, pp. 9-10]}. In melody, it is a steady melodic turn. In the dyeretia of yrya, it is represented by a stable pendulum-like melody, symbolizing this kind of "rotation in a closed circle". This intonation sounds throughout the song, and almost all songs of this style are presented externally with the same type of melodies.

In the "Song of the hero Toyon Jellus" from olonkho, "The Hero Maiden Jiribina Jirylatta" by P.P. Yadrikhinsky, Toyon Jellus, who is the older brother of the main character Jiribina Jirylatta, sings. His song in the musical transcription by N.N. Nikolaeva is also performed in the style of dyeretia yrya and in the genre of algys. The melody "revolves" around the musical sounds of a-h-cis.

There are three-, four-, five- and six-syllable periods in the verbal text of the song. Repetitions of the six-syllable verse rhythmic structure are revealed in the 2nd, 6th and 7th lines. The increase from three to six syllables and the predominance of six syllables (2nd, 6th-7th), the remaining periods are available in the chant only one at a time. This shows the desire of the verse for equivalence. The rhythmic structure of the lines is represented by a two-syllable word at the beginning of the 3rd-7th lines.

In the tune, according to A.P. Reshetnikova, "the deployment of the textual part of the meloperiod is based on the variation of two sound-pitch levels. Syllables can be sung both on the principle of "syllable — note" and "syllable — chant" ^{[7, p. 57]}. In a song, either one musical sound corresponds to a syllable, or a chant with the predominance of the "syllable-chant" principle. Long durations in the chant are approximately 62.8%, and short ones are 12.8. The cadence is distinguished by the appearance of a half duration with a dot. At the same time, in the beginning and cadence section, expanded vocalized chants, expressed by an extremely long duration, prevail. The chants are represented by quarter, eighth, sixteenth and 32 durations. Each musical sound is sung in eighth, sixteenth, and 32 durations. The super-long ones at the beginning of the song are transmitted in a wide variety of durations, thus defining the compositional structure of the beginning. The short ones appear as a single short in only at the end of the line in the 1st, 5th lines and closer to the middle in the 6th and 7th lines.

The analysis of the ratio of the verbal text and the melody, presented in the form of tables, helped to discover that in the "Song of the hero Toyon Jellus" the change in the structure of the verse in singing is only in the 2nd line, the rest do not change in the process of singing. The modification of the structure of the verbal string is due to the fact that the vocalization in the 1st line sings an additional repeated non-buried back row of the upper rise vowel y to the rounded back row of the middle rise vowel o in the word subu (‘this one’), diphthongizing the final vowel and changing the structure of the string from a three-syllable to a four-syllable. In the 2nd line, the final sonorous consonant ng is added, changing the ending of the word at the end of the line, however, it does not change the structure of the line:

The ratio of music and words in the "Song of the hero Toyon Jellus" from olonkho P.P. Yadrikhinsky "Virgo-bogatyr Jiribina Jirylatta"

Table 1

"The chant of the hero Yuryung Walan" from olonkho "Yuryung Walan" U.G. Nokhsorova ^{[3, p. 14-15]} presents the ritual genre of algys with an appeal to fire, which is set out in the manner of the dyereti yrya. The pitch level in his notation by V.G. Grigorieva, unlike the previous tune, is different and the scale is a small octave g-a-h trichord.

The verse contains a two-syllable, a seven-syllable, an eight-syllable, a ten-syllable, an eleven-syllable and a twelve-syllable. The gradual increase in the periods in it from a two-syllable to a twelve-syllable and the completion in the 2nd-3rd, 6th-7th and 9th lines with a three-syllable word shows, the same as in the previous sample, the desire for equivalence in the verbal part of the song. According to G.M. Vasiliev, "For all the apparent unevenness and incommensurability of lines in oral folk poetry, there is still a certain tendency in it to equalize the number of words in all rhythmically connected neighboring verses" ^{[1, p. 42]}. In this song, indeed, in the 1st and from the 2nd to the 7th lines, each line consists of 2 words. Therefore, "in close cooperation with the indicated tendency to equalize the number of words, there is another tendency to equalize the number of syllables in parallel verses, i.e., the tendency to the syllabic structure of verse" ^{[1, p. 42]}. Such an equation of the number of syllables or equivalence is manifested in the 6th and 7th lines.

The ratio of word and music is dominated by the ratio of "syllable-note" and "syllable-chant". The quantitative rhythm of the chant is dominated by long durations (55%), and short ones – 31%. The beginning, as well as in the previous song, is transmitted by super-long durations. The sounds of the chants are expressed in eighth, sixteenth, 32nd and triples of eighth and eleventh. In the beginning, the chant durations differ from the rest of the lines by the appearance of half durations. In the 3rd line, the sonorous voiced consonant p in the word ogonnyor (‘old man’) sounds somewhat apart from other sounds by ear, giving the melody a certain originality:

"The Chant of the hero Yuryung Walan" from olonkho

performed by U.G. Nokhsorov "Yuryung Walan"

Table 2

In the "Song of a woman-ayyy Khachyaaan Kuo" from olonkho "Yuryung Walan" by U.G. Nokhsorov ^{[7, pp. 58-59]}, it is sung in the traditional style of Yakut singing of dyeretia yrya and is a lament in genre terms. The basis of the melody in the musical transcription by V.S. Nikiforova is a trichord with a "rotation in a closed circle" around the musical sounds of a-h-cis. In all the analyzed melodies, we observe the "rotation" of the melody around the trichord, which fixes and confirms the "patriarchy" of their melodies.

In this song, as in the previous samples, the syllables are sung according to the principle of "syllable — note" or "syllable — chant". The quantitative rhythm of the chant is dominated by long durations and the completion of each line with short durations is observed. The chant sounds are expressed in eighth durations and trioles.

In the verse structure of the song, a two-syllable is found in the 1st line, in the 2nd-3rd and 5th - a six-syllable, in the 6th-7th – a seven-syllable and in the 4th – a ten-syllable. Typical for many ethnic groups of Siberia are the six–syllabic and seven–syllabic and the prevalence of six–syllabic - 3, seven-syllabic - 2, the rest - one at a time). Striving for the equivalence of the lines shows their Turkic origin ^{[1, p. 19]}. In the rhythmic structure of the lines, we observe a constant increase in the number of syllables and at the end we find their quantitative repetition.

In singing, the structure of the verbal text changes in the 2nd line from a six-syllable to a seven-syllable, in the 6th and 7th lines from a seven-syllable to an eight-syllable. This is due to the influence of singing on the verbal text and, as in the previous chant, the appearance of vocalizations of various kinds in singing. In the 1st line in singing, the sonorous sonorous consonant p in the word ker (‘look’) is heard somewhat separately from other sounds. In the 2nd and 6th lines in singing, the last syllable increases by 1 additional syllable. In the 2nd line, the vocalization of the middle row of the lower rise of the vowel a appears, diphthongizing the middle row of the upper rise of the vowel sound y, changing the structure of the line from six-syllable to seven-syllable, in the 6th line the syllable ye is repeated in singing and, accordingly, the structure of the line is changed from six-syllable to seven-syllable. At the end of the 7th line, when singing, an additional syllable ien appears, in which the final syllable en is sung as a short eighth somewhat separately from the diphthong. In singing, vocalizations occur with the unabridged vowels of the middle row wide a and the front row of the middle rise E.

The ratio of music and words in the "Song of a woman-ayyy Khachyaaan Kuo" from olonkho "Yuryung Walan" by U.G. Nokhsorov

Table 3

Here, the appearance of seven syllables in this song, as in previous songs, is explained by the structure of the syllabic period of the Yakut versification, in which "the ratio of the duration of individual words, rhythmic structures, and parts of the verse among themselves creates one or another rhythm of the work, and therefore is a permanent element defining the peculiarity of Turkic versification in general and Yakut in particular" ^{[12, p. 52]}.

Conclusion. Based on the conducted research, certain conclusions can be drawn. The traditions of the interaction of word and music in the dyeretia of the central (Prilensky) region of Yakutia are canonical and have been preserved for centuries.

In the songs of dyeretia yrya olonkho, the melodic line develops according to the principle of "rotation in a closed circle" and has a pendulum-like character of the melodic pattern, which confirms the antiquity and patriarchy of such songs from Yakut legends. Its typical character indicates the supersemanticism of the melodies of olonkho dierethea yrya.

In the verse structure of the dyereti of yrya in olonkho, the tendency to equilocation and the presence of seven-syllable and six-syllable periods characteristic of Turkic versification are revealed. In the rhythmic structure of a verse, the initial or final words in a line have the same number of syllables.

In the quantitative rhythm of the chant, the dominance of chants is observed to a greater extent with long durations, each sound of which is equal to short durations, expressed by eighth, sixteenth durations and trioles. The super-long ones represent the introductory part and necessarily open the tune, thereby emphasizing the beginning of the song.

When comparing the quantitative rhythm of the chant with the structure of the verse, one can find the predominance of the principle of "syllable-chant", rather than "syllable-note", with the desire for chants of long durations represented by a wide variety of durations. In singing, in the verbal series, there are changes in the structure of the verse and such a qualitative transformation of the verbal sound as the modification of a syllable in a word by adding an additional consonant sound and diphthongization of a vowel sound. Vowel sounds are mainly exposed to chanting, especially vocalized ones. In singing performed by U.G. Nokhsorov can be noted for the allocation of the sonorous sonorous consonant sound p, which, according to auditory sensations, is as if separated from the rest of the syllable sounds. Perhaps this selection is due to the peculiarities of the Amginsky tradition, or precisely to its singing characteristics.

Thus, the traditions of the interaction of word and music in the Yakut folk songs of the Dyereti yrya in Olonkho in the central (Prilensky) region can be revealed by comparing the rhythm of the verse structure and the quantitative rhythmics of the chant, which in the future will help to reveal the deeper integrative possibilities of these two semantic systems and temporary art forms.