- How do you feel about the fact that military bands perform at festivals of a civil nature? Do your orchestras receive offers to perform at such events?
- The activity of military bands cannot be limited to the musical support of military rituals, concert performances and work with musical amateur performances in their military units. Military bands must perform and perform in parks, take part in various music festivals and projects, go to city concert venues. These are long-standing traditions. And there are many examples. Thus, in different years the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov and the Rimsky-Korsakov Central Concert Model Orchestra of the Navy have taken part in the Invasion rock festival. Yes, they performed in their own format, showed parade ground concerts, but the audience accepted them with pleasure. On May 9 of this year, military bands in different cities of our country supported the art project "Rio Rita - the Joy of Victory", turning city gardens and parks into a dance floor in May 1945. In preparation for the international military music festival "Spasskaya Tower", military bands for three months delighted Muscovites and guests of the capital with their performances in the parks of the city of Moscow.
— Have you encountered difficulties associated with the complication of the foreign policy situation?
- I would not say that this somehow affected our teams. This year alone, the Central Military Band took part in the international military music festival in Bremen and is preparing for a concert trip to Armenia. In the near future, the military band of the headquarters of the Eastern Military District will demonstrate their skills at a military music festival in China. Every year, for more than twenty years, at the invitation of the Swiss side, the orchestra of the Suvorov members of the Moscow Military Music School named after Lieutenant General Khalilov has been going to Switzerland with concert performances on the days of events dedicated to the passage of Generalissimo Suvorov across the Alps. Russian military bands have been and remain in demand at prestigious international festivals abroad. There are a lot of offers. By the way, the military music festivals held here do not experience any problems with the arrival of foreign orchestras in our country. This is confirmed by the composition of the participants in international festivals held in Tambov, Yuzhno-Sakhalinsk, Khabarovsk and Moscow. For example, guests of the Spasskaya Tower festival in this year will be 12 foreign teams with the widest geography.
— Were all invitations sent to foreign participants accepted?
- Let me remind you that the current Spasskaya Tower festival will be the tenth. Jubilee. And over the years of its existence, it has acquired truly international recognition and prestige. Almost immediately, he entered the top three among others like him in the world. There are a lot of applications for participation, but the time frame for submission is limited. Therefore, unfortunately, this year too, not all teams that have sent their applications will be able to take part in it. But we will be glad to meet with them in the future, and work in this direction is carried out by the festival directorate constantly.
— Has Mireille Mathieu confirmed her participation?
- Of course. As in the past, Mireille Mathieu will take part in the current festival as a guest of honor. She has repeatedly said that she is always looking forward to this event and preparing for performances with great trepidation.
Head of the Military Orchestra Service - Chief Military Conductor Colonel Timofey Mayakin. Photo by Nadezhda Tikhomirova.
About the Moscow program "Military bands in parks", about the XI International military music festival "Spasskaya Tower", about how the military orchestral service lives today Armed Forces Russian Federation, says its chief, chief military conductor Colonel Timofey Mayakin.
- Timofey Konstantinovich, we can say that the spring-summer time for military musicians is the richest in terms of the number of performances. On May 19, the Military Bands in the Parks season began and will continue until August 18 in Moscow. From August 24 to September 2, the capital will be delighted with the XI International Military Music Festival "Spasskaya Tower" ...
- In fact, the whole year is hot for our military bands. But first, I'll tell you about the events you mentioned. These are significant cultural milestones not only for our country.
The opening of the Spasskaya Tower festival is preceded by a spectacular and truly beautiful project, which has become a bright spring-summer sign of the cultural and social life of Moscow. The idea of performing military bands in the parks and squares of the capital was suggested by the townspeople themselves, who asked to resume the once popular performances of military bands in city parks and squares on weekends. And the Directorate of the International Military Music Festival "Spasskaya Tower", with the support of the Ministry of Defense of the Russian Federation and the Government of Moscow, at one time began and successfully continues to work to revive this wonderful tradition.
For the first time, the Military Bands in Parks program was implemented by the Spasskaya Tower Festival Directorate in 2016 on the territory of VDNKh. The performances of the military teams were so warmly received by the audience that it was decided to make the program annual. In 2017, it was expanded: the number of concerts and city venues for them increased. The best military orchestral groups of our country take part in the performances. The Military Orchestral Service of the Armed Forces of the Russian Federation forms and approves the project program directly. It should be noted that this year the Military Bands in Parks program is complemented by performances of dance couples - participants in the Moscow Longevity project, which is being implemented by the Department of Culture of the capital. Another feature of this year was the participation in the action of volunteers of the Moscow Cultural center Novoslobodsky Park. In total, thirteen Moscow parks and squares were involved in the Military Bands in Parks program in 2018.
Military bands, the creative divisions of our army, are always on alert
Ritual at the walls of the ancient Kremlin.
The first open concert of military musicians took place on May 19 in the Alexander Garden. It was attended by an exemplary military orchestra of the guard of honor, a military orchestra of the 154th separate commandant's Preobrazhensky regiment and the orchestra of the Suvorovites of the Moscow Military Music School named after Lieutenant General Khalilov. On the same day, our musicians also performed at Borovitskaya and Manezhnaya squares. On May 26, the second concert of the season took place in Victory Park. A musical celebration for residents and guests of the capital took place on the square near the Flower Clock on Poklonnaya Gora. The concert began with a performance by drummers, then the program was continued by the Cadets Orchestra of the Military Institute (military conductors) of the Military University of the Russian Ministry of Defense under the direction of the chief conductor - the head of the orchestra, professor, Honored Artist of the Russian Federation Colonel Mikhail Mikhailovich Trunov. On June 2, as part of the celebration of Children's Day, two concerts took place. The Presidential Orchestra of the Commandant's Service of the Moscow Kremlin of the Federal Security Service of the Russian Federation performed in the Alexander Garden near the Italian grotto. The Military Orchestra of the Military University of the Russian Defense Ministry presented its concert program in the Muzeon Park on the Crimean Embankment near the "dry" fountain. On June 9, in Sokolniki Park, he performed again - this time on the main alley of the park - the Rotunda stage. On June 16, the Central Military Orchestra of the Russian Defense Ministry gave a master class in the Moscow City Garden "Hermitage". The entire program of performances, information about the groups taking part in them is posted on the official website of the Spasskaya Tower festival.
It must be said that at all concerts the orchestras perform with a unique repertoire. It harmoniously combines the beloved by many melodies of the past, classical works and popular modern songs in an original orchestral arrangement.
The season will close on August 18 in the Alexandrovsky Garden, where the Central Military Orchestra of the Russian Ministry of Defense and the Central Concert Model Orchestra of the Russian Navy will play.
And then Muscovites and guests of the city will enjoy ten evenings of a unique musical performance, which will take place on the main square of the country near the walls of the Kremlin, in the heart of the Russian capital.
- And what is the peculiarity of the current performances of the Spasskaya Tower? Who will take part in them this time? And did the sanctions affect the composition of the teams from abroad?
- Military music can be considered one of the best diplomats. It has no boundaries. It is a unique, perfect tool for intercultural dialogue. And we never had a problem with international representation on this world's youngest military tattoo. Since its inception, he
immediately became one of the most prestigious music forums. And every year it grows and develops, it becomes a larger and more multifaceted event, justifying its status as the largest international military music project in the world, rightfully included in the top three. Let me remind you that at one time the festival was launched by its inspirers and organizers - the commandant of the Moscow Kremlin, Lieutenant General Sergei Dmitrievich Khlebnikov and the music director of the festival, Lieutenant General Valery Mikhailovich Khalilov, who then headed the Military Orchestral Service of the Russian Ministry of Defense.
Sergey Dmitrievich together with the head of the festival directorate Sergey Smirnov and
The Military Orchestral Service of the RF Armed Forces is successfully continuing this project.
This year, as always, there will be a spectacular show on Red Square again. Performances of the best Russian and foreign military orchestral and creative teams will take place. It will be an enchanting theatrical performance with light installations and grandiose fireworks every night.
Musical session.
The geography of the countries participating in the festival traditionally covers all parts of the world. This year Moscow will host the Imperial Youth Orchestra from Brentwood, Great Britain, the Carabinieri Orchestra of the Prince of the Principality of Monaco, the unique Crescendo orchestra on bicycles from the Netherlands, the Oman Royal Guard Orchestra, the Old Grenadiers of Geneva Corps from Switzerland, the Sri military band -Lankan as well as the International Celtic Bagpipe and Drums Orchestra. A number of groups will take part in the performances of the Spasskaya Tower for the first time.
This year, for the first time, at the popular request of spectators, a daytime performance will also take place within the framework of the festival program. It will be absolutely identical to the evening one, with the exception of fireworks and other pyrotechnic components. By the way, the organizers are preparing various surprises for the daytime performance.
To date, more than two hundred orchestras with a total number of about four thousand people belong to the Military Orchestral Service of the Armed Forces of the Russian Federation.
Undoubtedly, the equestrian show on a special arena will also be very interesting. Performances here by the Cavalry Escort of the Presidential Regiment of the Commandant Service of the Moscow Kremlin of the Federal Security Service of the Russian Federation and representatives of the equestrian club "Kremlin Riding School" have become an integral part of the socially oriented cultural life of the festival. I note that in 10 years more than 200 performances have taken place, which were attended by hundreds of thousands of people. The grandiose show program, which the Kremlin riding school has been preparing for many years, is always very bright and original, it includes performances not only by Russian, but also by well-known foreign groups.
The program "The Spasskaya Tower for Children", which is loved by all, will receive further development. annual competition children's and youth brass bands, a review of children's honor guards from various regions of Russia. And in the thematic tents of the Children's Town, exhibitions, master classes, contests, relay races and games will be held every day, which everyone can freely visit.
- At the beginning of the conversation, you noticed that the military musicians are extremely busy with performances throughout the year. How many orchestras in the Military Orchestral Service perform the respective tasks?
- To date, we have more than two hundred orchestras with a total number of about four thousand people. Yes, there is a lot of work, because, as usual, military musicians are in demand at all significant state events. And not only. Many large-scale festivals of military bands take place both in our country and abroad. By participating in them, we not only strengthen the prestige of the national military musical culture, but also get a wonderful opportunity to improve our professional form, because each orchestra has its own musical house, a certain manner of performance developed by it. Music is a constant work, the search for that individuality of performance that distinguishes one collective from another. And we must not forget: our activity is closely linked with the life of the troops. Military conductors also work with amateur performances in local military units. It is their official duty to provide methodological assistance and help to discover talents among military personnel and their families. And, if possible, involve them in the concert activities of their orchestras.
- What is the structure of the Military Band Service?
- The structure of the Military Orchestra Service includes: the governing body of the Military Orchestra Service, the Central Military Orchestra, the Military Model Orchestra (guard of honor), the Central Concert Model Orchestra of the Navy named after Rimsky-Korsakov, the military orchestra services of the military districts, military orchestras headquarters of military districts and military bands of military units. Of course, it also includes educational institutions. These are the Moscow Military Music School named after Lieutenant General Khalilov, which graduates specialists with a secondary vocational education, and the Military Institute of Military Conductors of the Military University, which trains specialists with higher education.
- In short, how is your work organized?
- Firstly, there is an annual inspection of the orchestral services in the field. For this, a special commission is created, headed by the head of the Military Orchestral Service. But, in addition to this, for professional growth, there are also reviews and competitions of military bands on an all-army scale. They are held every five years in two rounds. This year, the first, qualifying, started in February in Moscow and ended on March 12 in the Northern Fleet. During this time, military musicians from the Western, Eastern, Central and Southern districts demonstrated their skills. The second, final round, in which the best of the best 12 orchestras will take part, will be held on Red Square from August 27 to 31, 2019, on the days when the XII International Military Music Festival "Spasskaya Tower" will be held.
- And what should the orchestras show during the annual inspection?
- At least two new concert programs, each lasting up to an hour, and a parade-concert must be prepared for the commission's arrival. Each orchestra is obliged to perform the National Anthem of the Russian Federation and the following works: Glory to Glinka, Divorce of the Guards by Pavlov, Krasnaya Zarya by Chernetsky, two combat marches and two Counter marches. In addition, works of the concert repertoire are auditioned, including transcriptions of works by domestic and foreign classical composers, as well as original works for a brass band. The check ends with the execution of the program of the parade-concert. It is important to note that during the audit, we not only assess the level of preparation of the orchestra. Our task is to provide methodological assistance to military conductors, including in the formation of a musical repertoire, conducting orchestral classes and individual training of musicians.
- And to what other events, besides checking the work of orchestras on the ground, does the Military Orchestral Service relate to?
- Of course, this is the musical support of military parades on May 9 - on Red Square, in hero cities, cities of military glory. In all other cities where parades are held.
In terms of festival activities, the 7th Amur Waves International Military Music Festival has recently taken place in Khabarovsk. It was attended by military bands from Russia, Kazakhstan, Mongolia and the Celtic bagpipes and drums orchestra representing the European Union. Recently, the VII International Festival of Brass Bands named after Vasily Agapkin and Ilya Shatrov ended in Tambov. Six orchestras from different cities of the country performed at it, including the Central Military Band of the Russian Ministry of Defense, military brass bands of military units 54607 and 31969, stationed in Tambov. Tambov musicians also worked with them - the Governor's Brass Band of the Tambov Region and the Agapkin Brass Band. As part of the festival, a monument to the military conductor Lieutenant General Valery Mikhailovich Khalilov was unveiled. The monument was made in full height and is installed on a granite plinth decorated with fanfare. It was placed in the city center not far from the monument to military musicians Vasily Agapkin and Ilya Shatrov. The author of all compositions is the Moscow sculptor Alexander Mironov.
The Central Military Orchestra will also perform in Armenia from June 28 to July 5. In September last year, our military musicians have already participated in the first annual Russia-Armenia interstate festival "The main thing is to serve the Fatherland." It is conducted by the International Fund in Memory of Arno Babajanyan with the support of the Defense Ministries of Russia and Armenia. After that, our military orchestra awaits at its festival the city of the first fireworks, the city of military glory Belgorod.
Not far off, and musical support for the main naval parade in St. Petersburg in commemoration of the Day of the Navy.
From July 30 to August 5, the Central Military Band will perform at the International Military Music Festival in Hamina, Finland.
We have already discussed the "Spasskaya Tower". And in the period from September 22 to October 1, the orchestra of the Suvorov members of the Moscow Military Music School named after Lieutenant General Khalilov will be on a business trip in Switzerland within the framework of international military cooperation between the Russian Federation and the Swiss Confederation. Pupils of the school have been taking part in the annual events dedicated to the anniversary of the passage of the Russian army under the leadership of Field Marshal Suvorov across the Alps for more than 25 years.
- In the old bardic song of Vladimir Vasiliev there are the following words: "My orchestra is leaving, but catching up with the sounds, the boys will run after the music." Do you think they are relevant today?
Here are the talents.
- Let such facts speak for me. Since the holding of military music festivals, for example, in Khabarovsk and Tambov, the number of teenagers who study in music schools in these cities has increased significantly. And for the same Suvorov members of the Moscow Military Music School named after Lieutenant General Khalilov, I am sure that military music has become fate and love forever. They are its faithful successors and keepers. And the competition among those entering the school is very serious.
00461 ZU- ^ I As a manuscript
Mayakin Timofey Konstantinovich
MILITARY AND MUSICAL CULTURE OF RUSSIA (HISTORICAL AND CULTURAL ANALYSIS)
24.00.01 - Theory and history of culture
Nizhny Novgorod - 2010
THE WORK HAS BEEN PERFORMED IN THE GOU VPO "NIZHNEGORODSK STATE ARCHITECTURAL AND CONSTRUCTION UNIVERSITY"
Scientific adviser Doctor of Philosophy, Professor Zelenoe Lev Aleksandrovich
Official opponents: Doctor of Philosophy, Professor Alexander Sergeevich Balakshin, Candidate of Philosophy, Associate Professor Anna Nikolaevna Komarova
Leading organization
GOU VPO "Nizhny Novgorod State Pedagogical University"
The defense will take place on November 17, 2010 at 12 o'clock at a meeting of the dissertation council D 212.162.01 at the State Educational Institution of Higher Professional Education “Nizhny Novgorod State University of Architecture and Civil Engineering” at the address: 603950, Nizhny Novgorod, Ilyinskaya st., 65, bldg. 5, room. 202.
The thesis can be found in the library of the State Educational Institution of Higher Professional Education "Nizhny Novgorod State University of Architecture and Civil Engineering".
Scientific Secretary of the Dissertation Council
Doctor of Philosophy, Associate Professor
E.V. Gryaznova
I. GENERAL DESCRIPTION OF WORK
Third, the study of military music culture, taking into account its multifaceted functions, can help to increase the authority of the Armed Forces of the Russian Federation, especially in modern conditions.
Fifthly, the study of military music culture from the point of view of its psychological, national-patriotic role in the education of the personnel of the Armed Forces of our country is relevant.
The degree of scientific elaboration of the problem. It should be noted with regret that the level of scientific elaboration of the problem of the development of military music culture in Russia is very weak and the research is of a fragmentary nature. Viewing a problem from a class perspective is not always
contributed to its holistic study. There are no works in a direct formulation of the question, and only the study of many sources makes it possible to carry out such a study and highlight certain aspects, problems, fragments.
The first includes the works of Russian culturologists of a general methodological nature, in which, to one degree or another, the problems of musical culture are touched upon in theoretical terms.
The second group is represented by complex works of Russian art critics on the history of music and musical culture of Russia.2 In them, the problem of the development of military music culture is considered in a general form, in connection with the issues of cultural construction of the state. As a rule, in all these works a rather detailed excursion into the history of the musical life of Russia is made. At the same time, the coverage of issues related to the development of military music culture is fragmentary.
The fourth group includes works devoted to the history of the formation of the Red Army Song Ensemble and the creative activity of its first leader A.V. Aleksandrov. 4
1 See: A.I. Arnoldov Man and the world of culture. - M., 1992; Vinnitskovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet soldier: dis. ... Cand. Philos. sciences. - M., 1984: Vygotsky L.S., Luria A.R. Categories and concepts of the theory of culture. - M., 1985; Dorogova L.N. Artistic culture and the formation of a soldier's personality: dis. ... Dr. Philos. sciences. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture. -JI., 1989, etc.
2 See: E.F. Bronfin. Musical culture of Petrograd in the first post-revolutionary five years: research. - L., 1984; Nikitina L. D. Soviet music. History and modernity. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.
3 See: E.S. Aksenov New in the instrumentation of the Soviet military march. - M, 1970; Matveev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music And a reader on the history of military music. - M "1988. - Ch. N; V.I. Tutunov 250th Anniversary of the Military Orchestral Service in Russia. - M., 1961, etc.
4 See: B.A. Alexandrov The song is calling. - M., 1982; B.E. Korostelev Art born by the people. - M., 1991; Pozhidaev G.A. Red Banner Ensemble: The Path of Song and Glory. - M., 1988; Shshov A.V. Unknown songwriters. - M., 1961, etc.
A separate group of sources is made up of documents widely represented in the historical archives of Russia, 1 also this should include legislative documents and acts published in different years (decrees, orders, directives, statutes, instructions) that indirectly affect the problem of the development of military musical culture and made it possible to significantly supplement the source base of the study. 2
Another group of sources is formed by memoirs, memoirs, diaries of prominent figures and cultural workers, in which they left a subjective assessment of military music, musical culture in general, its role in the moral and psychological education of soldiers.
The subject of this research is the military-musical culture of Russia. Considering that this subject is quite multifaceted, we highlight in it those aspects of analysis that constitute the object of research: the historical formation of military music culture, its specifics, the main social functions and forms of manifestation, the structure of training military musicians and conductors.
1 Russian State Military Archives (RGVA), Russian State Archives of the Navy (RGA Navy), Russian State Archives of Literature and Art (RGALI).
2 See: Combat cavalry charter of the Red Army. - Pg., 1920. - Ch. I-Sh; Combat infantry regulations of the Red Army. - Pg., 1920. - Part I.; Charter of the garrison service of the Red Army. - Pg., 1918, etc.
3 See: Vasilevsky A.M. Life's work. - M „1974; Vsevolzhsky I.E. Prisoners of the sea. - M., 1961; Furmanov D.A. Chapaev.-M., 1961, etc.
The theoretical basis of the dissertation research. The theoretical foundations of the study were the works of domestic and foreign authors devoted to the analysis of the social essence of culture, its place in the system of society, the laws governing the formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form - military musical activity. The analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.
Methodological basis for the dissertation research. Methodologically, the work is based on the dialectical method with such basic principles as the principle of polarization, which made it possible to explain the contradictory nature of military-musical culture as a unity of utilitarian-military and artistic-musical activity; the principle of functionality, with the help of which a multifunctional analysis of military music culture is made; the principle of determinism, which necessitated
studies of the dynamics of military music culture depending on socio-political changes in society.
4. Analysis of the real life of military music culture in the system of society reveals its main social functions: ritual-organizational,
organizational and mobilizing, ceremonial demonstration, national-patriotic, educational and educational, concert and theatrical.
5. The military music culture of Russia, as a universal and multifaceted phenomenon, affects the mass consciousness of society.
The theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a deeper understanding of the problems of applied cultural studies, which develops within the boundaries of the general theory and history of culture. This is evidenced by similar studies of the culture of design, culture of behavior, culture of speech, religious culture, etc.
Approbation of research results. The results of the research were presented by the author at meetings of the Department of Culture and Art of the Military University, the Military Conducting Department of the Military Conducting Faculty at the Moscow State Conservatory. PI Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at the scientific-practical conference of the Military Conducting Faculty. The materials of the dissertation are reflected in several articles, as well as in the author's monograph "Military Musical Culture of Russia" (Moscow, 2010) and in the collective monograph "Military Music of Russia" (Moscow: Voenizdat, 2007).
The structure of the thesis. The dissertation, 149 pages in size, consists of a reference, 4 chapters, a conclusion and a bibliographic list, including 282 titles and 153 archival sources.
II. MAIN CONTENT OF WORK
The introduction substantiates the choice of the topic, the object and subject of research, defines the tasks and tasks, gives a brief review of the literature, explains the theoretical and methodological basis of the research.
In the first chapter - "The specificity and functions of the military musical culture of Russia" - in accordance with the purpose and objectives of the study, the specificity and social functions of the military musical culture are clarified. Since they are mainly presented on an empirical, descriptive level, this presupposes a generalization of existing statements and their cultural interpretation. And here, first of all, it is necessary to start with the concept of musical culture as a whole.
The doctrine of musical culture is still in the process of formation, as is the doctrine of culture in general. French scientist A. Mole counted more than 250 definitions of culture. "Until recently, the concept of" musical culture "in the studies of Russian musicologists was interpreted as a synonym for such terms as" musical art "and" musical life. "
From the point of view of this study, the definition of musical culture as a set of processes and phenomena of the spiritual and practical activity of society as a whole or of its individual groups (ethnic, professional, age, etc.) for the creation, accumulation, storage, development and dissemination of musical works deserves attention. arts and wealth associated with music.
It must be stated that it is the activity-based approach that makes it possible to understand the functional nature of both culture in general and military music culture in particular. Military music culture is viewed as a specific type of applied culture, i.e. such a musical culture, which is focused on military service. This double determination of it determines its specificity, which is reflected in the very historical development of military music culture, and in its empirical description and theoretical explanation.
1 Mol A. Sociodynamics of culture. - M., 1973 .-- S. 35.
The military-musical culture of Russia is considered in this study as the culture of a certain professional group of society. Proceeding from this, it is presented as a set of processes and phenomena of the spiritual and practical activities of the soldiers of the Army and Navy in the creation, accumulation, storage, development and distribution of works of musical art and material values associated with the musical life of the Armed Forces.
In a narrower sense, musical culture can be defined as a set of historically determined social processes and phenomena of the musical life of individual strata of society or its professional groups, expressed in musical folklore and musical works. In this sense, the concept of musical culture merges with the concept of musical art, which is sometimes defined as a function of spiritual culture, presented as a set of ways of musical activity of people standing at different levels of the social ladder and having different levels of professional training. These methods directly serve the knowledge, training, education and rallying of army and naval teams.
Spiritual musical culture, as the history of its development shows, is inextricably linked with material culture, which is represented as a set of public musical management structures, musical instruments, as well as factories, factories, workshops producing musical instruments and musical items intended to ensure and regulate the process of education and education.
Military musical culture, which is a reflection of the social, political and musical life of the country, along with the general features characteristic of the entire musical culture of society, has a certain independence in its musical development. This is due to the peculiarities of the functioning of the armed forces of any state, which are as follows:
a) the armed forces of the state at all times have been and will be a means of politics, a means of maintaining the power of the ruling class. And this remedy is only
then it gains strength when the morale of soldiers, sailors and officers is at the proper level;
b) the vital activity of the armed forces is determined by a rigid management structure and a stable organization of everyday life, which cannot do without military-wind music;
c) The Army and the Navy have always protected national interests Russia. And even in the difficult days of hostilities, the military music culture fulfilled its role. Here is how P. Alabin, a participant in the defense of Sevastopol, describes the battle: “... the alarm is sounded, drums are rattling in some places, in others the rattling, sharp sounds of a signal pipe are heard. The sounds of both those instruments and others serve the same purpose: they call everyone to their places, inspiring and warning of impending danger. "
The formation and development of military music culture was due to the following reasons:
Changes in the foreign and domestic policy of the state, expressed in military reforms;
The development of domestic musical culture, both material and spiritual;
The activities of the government and prominent military leaders;
Active social and musical activities of leading Russian musicians;
Development of the printing industry and music publishing;
The functioning of the armed forces themselves.
When assessing the role and significance of military music culture, it is necessary to take into account a number of features of its formation, which were as follows:
a) the musical and artistic experience and spiritual needs in this sphere of culture for various categories of military personnel were at different levels;
1 Alabin P.V. Four Wars: Camping Notes. - M., 1892 .-- Part 3.
b) the use of the means of musical art in the conduct of marching reviews, military rituals and ceremonies, in which both the command and the rank and file took part, was of a general nature; music occupied one of the leading places in the existing system of aesthetic and moral education of soldiers;
c) music was necessarily included in almost all types of military activities (signal service, guard and garrison service, etc.), which was enshrined in the requirements of charters, manuals and other governing documents.
Military music culture performed a number of functions in society, thanks to which its effective character and relative independence were realized. These features include:
Ritual-organizational - the use of music in various types of professional service-combatant activity (accompaniment of military rituals, ceremonies, etc.);
Organizational and mobilizing - the use of musical means to provide signals for command and control of troops and increase the morale of servicemen during the period of hostilities;
Parade demonstration - musical accompaniment to the daily activities of troops in peacetime (during campaigns, in military camps, etc.);
National-patriotic - the formation of the spiritual world of military personnel, their education in the spirit of devotion to the Fatherland, propaganda of the existing system;
Educational and educational - instilling knowledge of culturological, art history and historical nature;
Concert and theater - organization of recreation and leisure.
Some functions (national-patriotic, educational and educational, concert and theatrical) were characteristic of the entire musical culture, and some (ritual-organizational, organizational-mobilizing, parade-demonstrative) had a purely military
professional character. This clearly confirms that the military musical culture is an organic part of the musical culture of society and at the same time has relative independence.
The essential properties of military music culture are: mass character, continuity, the ability to have a strong emotional impact. Studying the military-musical culture, one can note some differences between the naval musical culture and the army one. The specificity of the maritime service is due to the closed space of the ship, the long stay of sailors away from their native shores, the absence of orchestras on small ships. All this brought to life the main type of musical activity of sailors - the sailor song.
The birth of the military-musical culture of Russia goes back centuries. It is known that the pagan Slavs (V-VII centuries) sang songs on the graves of their ancestors, singing in them the feats of heroes who glorified their family. The songs were composed by singers and transmitted exclusively orally, which explains the paucity of examples that have come down to our time.
In the life of the military squad, musical culture received its further development. The use of the first musical instruments was associated with the beginning of the campaigns of military squads. The earliest mention of pipes is found in the story of the siege of Kiev by the Pechenegs in 968.
During the XI - XII centuries. musical elements were further spread in military affairs. In the "Lay of Igor's Campaign", which describes the events of 1185, it is said: "... trumpets are blowing in Novgorod, there are banners in Putivda." And further: “and my kurens, experienced knights, were poured with pipes, under the helmets were rocked, fed with the end of a spear ...” 1
Both in ancient Kievan Rus and later in the Moscow principality (XIV-XV centuries), military music and the wind instruments that make up its basis occupied a prominent place. So, for example, trumpets and tambourines accompanied the gathering of the Russian army on a campaign led by Dmitry Donskoy.
1 A word about Igor's regiment. - L., 1990 .-- S. 49-50.
In the XV and XVI centuries. at the court of the Russian tsars and among the enlightened boyars, they increasingly began to turn to all kinds of "overseas" musical amusements. The gravitation towards music of the Western European type was especially manifested in the second half of the 17th century, when, at the invitation of Tsar Alexei Mikhailovich, musicians were recruited to play various instruments: trumpets, flutes, trombones, oboes and violins, which gradually became part of the musical everyday life of the royal family.
The end of the period of the emergence of military music culture is associated with the social and state activities of Peter I. In 1711, a special decree of Peter I introduced the provision on "Military choirs of music" ", which legally established the status of choirs in regiments, staff structure, etc. This laid the foundation for the development of military orchestral service in Russia.A great merit of Peter I was also in the fact that it was under him that the first military rituals took on a harmonious and clear form: morning and evening dawn, taking the oath, meeting chiefs, divorcing the guards, etc. .d.
The further formation of military music culture (2nd half of the 18th - 1st half of the 19th centuries) was influenced by the traditions laid down by Peter I, but the most important role was played by significant changes in the field of military music during the reign of Catherine II. First of all, this concerned the staffing of military bands. In a number of regiments, two "military music choirs" were established, i.e. two orchestras. At this time, the main genre of military music was widely developed - the march (ceremonial, marching), which sounded at parades, shows, on campaigns, etc.
In the XVIII century. musical instruments are becoming one of the varieties of military regalia, a symbol of valor and heroism of Russian regiments. In the list of the highest awards established in the Russian army, silver trumpets and horns took third place. Awarding with musical instruments in the 18th century firmly entered the practice of encouraging particularly distinguished in military operations
"Military Choirs of Music" of the Russian Army and Navy.
So called in XVIII 14
XIX centuries. Russian military bands
regiments, which can be regarded as a manifestation of the musical culture of the Russian army and navy.
During the 1st half of the 19th century. In the military bands of the Russian army, a number of important events were carried out, covering various aspects of their life: staff, instrumental ensembles, the leadership system in the guard bands, and the training of musicians. These measures consistently improved the state of the musical culture of the Army and Navy, whose numbers, in connection with participation in hostilities, were constantly increasing.
Of great importance for the development of military music was the invention and introduction of chromatic brass instruments into orchestras, 1 which significantly expanded their artistic possibilities.
This period includes the holding of the first so-called "invalid" concerts by military orchestras, which were dedicated to the heroes of the Patriotic War of 1812 and were staged annually in various cities of Russia from 1813 to 1913. Their goal was to raise funds to provide material assistance to the injured soldiers.
In the first half of the XIX century. the soldier's and sailor's song received its further development. Victory in Patriotic War 1812, as well as the Hungarian campaign of 1849, gave rise to many soldiers' folk songs praising the exploits of their rank-and-file soldiers and their commanders. The first printed editions of texts and scores of songs and military marches appeared.
As a result of the military reforms of Emperor Alexander II, the financial situation of military musicians and bandmasters improved significantly, new instrumental ensembles of military bands were introduced, and special military educational institutions were created to train musicians and bandmasters of the Russian Army and Navy.
By the beginning of the XX century. all the prerequisites for the formation and subsequent development of military music culture in Russia were formed.
1 New modification of brass instruments, in which a 3-valve mechanism was included, enriching their performance and artistic possibilities.
The specificity of military music culture is historically formed on the basis of two of its defining constituent elements:
a) musical creativity in all its instrumental and vocal manifestations, organically included in the military musical culture, determining its professional support (highly professional composers, performers, orchestras and ensembles who have received recognition and high marks not only in Russia, but also abroad;
b) service and combat activity in all its forms and social manifestations, which determine the specifics of military music culture associated with the activities of the Armed Forces, determined by charters and regulations, as well as cultural life (concert and theater activities).
The universal nature of military music culture allows us to single out a number of social functions inherent in it, among which the most important are the following: ritual-organizational, organizational-mobilizing, parade-demonstrative, national-patriotic, educational and educational, concert and theater.
In the second chapter, "The Formation and Development of Professional Military Music Education in Russia," the author focuses on the fact that military music culture as a specific applied activity needs highly qualified subjects and a professional staff. Therefore, the state initially paid close attention to the formation and development of professional military music education, which began to take shape in the pre-Soviet period, but was especially vivid and multifaceted in the Soviet period of Russian history. Modern Russian society continues the established traditions.
To lead the orchestra of the Red Army, a bandmaster of a new type was needed, a highly qualified musician with special training with organizational skills and talent as an educator.
It was necessary in the shortest possible time to establish new forms of professional military music education.
In 1919, “Regulations and states on short-term courses for music instructors for the Red Army under the Educational Department of the PUR” were developed, 1 in order to train specialists in the following specialties: orchestras of brass music, conductor (choir director). At the same time, the commanders of military units sent Red Army soldiers with good musical abilities to tests for admission to conservatories or music schools of the People's Commissariat of Milk.2
In 1920, organizational work on the training of military musicians was further developed in Petrograd. Order for the Petrograd Military District No. 689 of May 8/9, 1920, instructed: “The inspector of military bands shall immediately begin to form military-musical air defense courses under the Political Education Directorate, in accordance with the attached Regulations and Provisional States, which shall be put into effect from 1 May 1920. ”3 In addition to training musicians for military bands, the course was the first to organize a bandmaster class for 20 cadets.
In order to streamline the work of military music institutions and bring their curricula to uniform requirements, the Music Bureau in 1922 developed and approved the "Statute and States of the Petrograd and Tashkent military music schools of the Red Army."
In 1921, to train musicians of naval military bands at the Central naval crew, the Music School of the Training Unit of the Baltic Sea Forces was established in Petrograd, with 5 states of which determined the content of 80 cadets.
1 RGVA. F. 9. Op. 12.D. 11.LL. 90-94.
2 RGVA. F. 9. Op. 12.D. 43.L. 13.
3 RGVA. f.9. OP. 11.D. 188.LL. 304-307.
s Order for the Fleet dated December 9, 1921, No. 181 // RGAVMF. F. R.-309.0P. 1.D.1.L.12.
The idea of the need to train bandmasters on the basis of higher musical education, put forward by such advanced musicians of pre-revolutionary Russia as N.A. Rimsky-Korsakov and A.G. Rubinstein, received its rebirth thanks to A.V. Aleksandrov and V.M. Blazhevich. On their initiative, a bandmaster class was organized at the Moscow Conservatory, the opening of which marked the beginning of higher military conducting education in the USSR.
In 1930, the Kapellmeister class was renamed the Military Kapellmeister Department of the Performing Faculty of the Conservatory, 1 which, in 1932, due to organizational measures carried out by the Moscow Conservatory, 2 received the status of the Military Kapellmeister Department. In connection with these changes, the period of study was increased to three years, and the number of students - up to 45 people.
In order to more effectively train the leaders of military bands in 1932, a bandmaster class was formed at the Frunze Military Academy, 3 with a three-year training period.
The formation of a single faculty for training military bandmasters was entrusted to the inspector of military bands of the Red Army S.A. Chernetsky and director of the conservatory G.G. Neuhaus. They were instructed "... to complete the formation of the faculty by December 25, in order to begin scheduled training sessions from January 1."
Along with the training of leaders of military bands, in the mid-thirties, the centralized training of musicians for army bands resumed again. On the initiative of S.A. Chernetsky, at that time, freelance music was created in Moscow, Voronezh, Saratov and Yelets.
1 Soviet military music. - M., 1977 .-- S. 215.
2 On the abolition of faculties and departments and the establishment of departments: Order for the Higher School of Music of September 2, 1931 // Moscow Conservatory 1866-1966. -M., 1966. - P. 488.
3 Order on the headquarters of the Frunze Military Academy of January 13, 1932. No. 6. // RGVA, f. 24696, on. 1, d.244, l. 15.
4 On the formation of the Military Faculty at the Moscow State Conservatory. Order of the NKO of the USSR dated November 28, 1935. No. 183. // RGVA, f. 4, op. 15а, d.414, l. 285.
* RGALI, f. 1943, on. 1, d.221, l. 3.
there were homeless teenagers. And in 1937, on the basis of orphanages of regional departments public education in Moscow and Leningrad, regular schools of military musicians were opened, 1 which made it possible to partially staff military bands with qualified musicians. Later, in the pre-war period, another 13 full-time schools of military musicians were formed in various military districts.
The function of training musicians for all naval orchestras was performed by the Leningrad Naval School of Military Musicians, restored in 1937 on the basis of the Music School of the Training Unit of the Baltic Sea Naval Forces.
The training of military bandmasters especially for the Navy began in October 1938, when, when the Military Faculty of the Moscow Conservatory was transferred to a new state, seven students were recruited to the Naval Department, and in 1940 the Naval Faculty was formed at the Leningrad Conservatory. ...
Summing up the results of the formation of professional military music education, the following conclusions can be drawn:
First, in the 20-30s. XX century a harmonious system of training musicians for the orchestras of the Red Army and Navy was created. It included schools for musicians who trained musicians for military bands on the basis of secondary specialized education, as well as the Military Departments of the Moscow and Leningrad Conservatories, which graduated specialists with higher education to recruit the posts of military bandmasters;
Secondly, regulations, admission rules and curricula of these educational institutions were developed and adopted, which made it possible to train specialists who meet uniform qualification requirements;
Thirdly, all the transformations took place with the active assistance of the command of the Red Army and the progressive musical community;
1 On the formation of schools for military music students. Order of the NKO of the USSR and the NK of Education of the RSFSR dated January 23, 1937. No. 7. // RGVA, f. 4, op. 15a, 444, l. 13.
2 See: Soviet military music. - S. 33.
Fourth, when creating these educational institutions, the positive experience in this area of pre-revolutionary Russia was used;
Fifth, the system of professional training of personnel for military bands of the Red Army and Navy that had developed by 1941 served as the basis for its further improvement and development in the 20th century.
In the third chapter, "Service and Concert Activities of Military Orchestras and Ensembles," the author analyzes the practical military music activity, taking into account its multifaceted functions.
When examining the social functions of military musical culture, its dual meaning is repeatedly emphasized, which has found expression in its applied nature. Hence, there are two forms of its functioning: servicing various military-service activities and mass concert activities, which demonstrated the high professional level of military orchestras and ensembles.
Military music has found wide application both in combat training of troops and in the system of moral-combat and cultural-pro-educational training of army and navy soldiers. One of its main tasks was the musical accompaniment of various military celebrations and rituals, many of which were traditionally transferred from the old Russian army and navy.1
Unlike all other types of orchestral performance, the playing of a military orchestra in the ranks during military rituals is a very special kind of performing art. It is based on distinctive, specific features that have been formed over the centuries. When playing in the ranks, a military orchestra acts not only as a musical and artistic group, whose task is to perform various kinds of works, but also as a military unit, all members of which must clearly and consistently perform the necessary complex of drill techniques. The complete combination of musical performance and drill skills is one of the most characteristic
1 See: N.K. Surin. On the history of Russian military rituals and their musical arrangement in the period from the 9th to the beginning of the 18th century // Reader on the history of Russian military music. -M., 1981, -4.1.-C. 291.
features of the specifics of a military orchestra as a performing group. This feature determines a number of other features: a certain order of arrangement of orchestral voices, the need to instill in musicians the skills to perform a piece not only on the spot, but also in motion, and as a keepsake, the ability to ensure the orchestra's play in any weather and in different acoustic conditions. Thus, the musical arrangement of the rituals requires not only creative, but also military training of musicians, the development of a certain physical and performing endurance in them.
Along with the rituals that existed in pre-revolutionary Russia (taking the military oath, divorcing the guards, evening dawn, meeting chiefs, etc.), new rituals appeared (solemn opening of monuments, laying wreaths to those who fell in battle, etc.). One of the most important military rituals was the military parade.
A comparative analysis of military parades in the pre-revolutionary and Red armies allows us to trace some continuity in external forms their conduct (formation of troops, meeting the host of the parade, detour and congratulations to the participants, passage of a solemn march). However, significant changes have taken place in their musical design.
A new means of organizing the musical accompaniment of the parades of the Red Army was the creation of combined military bands capable of solving complex problems of musical arrangement of the ritual.
The musical material performed at the parade has undergone significant changes. This was due to the fact that in the 20s - 30s. XX century the theme of the combat march was enriched by the Soviet mass and folk song. The musical design of other military rituals has also changed. So the pre-revolutionary music "Dawn" was replaced by a new one, composed by SA Chernetsky in 1927 "Red Dawn" .1 By the 30s. the emergence of new music belongs to the ritual of setting up the guard.
Along with the official activities of military bands, a large role in the army and navy was assigned to the signal service, which was the most important
1 RGALI, f. 1943, op. 1, d.100, l. 2.
a means of command and control of troops in tactical exercises, maneuvers and other types of combat training and daily activities. The supply of combat signals acquired particular importance in the cavalry units, since the horse formations, as a rule, were dismembered, required special means for giving commands to a long distance.
An important role in professional activity military bands played not only service, but also concert and educational activities. From the middle of 1919, the political department of the Revolutionary Military Council, with the assistance of the city's musical community, organized concerts of symphonic and popular music with explanations and musical lectures. At this time, a new form of musical propaganda was born - a concert-meeting.
In the early 20s. In the concert practice of military bands of large garrisons, a new trend began to be seen: rather frequent performances of consolidated brass bands in front of the city public. At the same time, the orchestras of units and military educational institutions were involved in work on the radio, recording records and music for films. The orchestra conducted by V.I. Agapkin was active in this direction. not only marches, dance music and arrangements of popular melodies of that time were recorded, but also many compositions by the renowned leader of this group.
Of great importance for the revitalization of concert activities and the improvement of the performing skills of orchestras in the 20-30s. XX century had review contests held both in each military district and on an all-army scale. Subsequently, such competitions have become traditional.
The concert activities of the Frunze Red Army Song and Dance Ensemble (later the USSR Red Banner Red Army Song and Dance Ensemble), which began in the late 1920s, had a special influence on the development of the military music culture of Russia. For their first performances, the collective chose a new genre of literary and musical editing, combining musical and choral, literary and dance foundations.
Based on the above material, some conclusions can be drawn:
First, military music accompanied all aspects of the life of military units;
Secondly, in addition to the fact that there were traditional rituals, in the 20-30s. XX century new rituals appeared, as well as types of service and combat activities of military bands; the musical material has undergone significant changes to ensure them;
Thirdly, the concert practice of musical groups of the Red Army and Navy has been enriched with new forms: concert-meeting, musical and literary editing, a thematic concert, etc. In addition, against the background of the rapid development of science and technology, new types of concert activities appeared, designed for the mass audience;
Fourthly, the development of service, drill and concert activities of military bands took place with the direct participation and comprehensive assistance of prominent military leaders, as well as thanks to the vigorous activity of the country's leading musical and public figures. This allowed military bands and song and dance ensembles not only to become an important link in the system of cultural and educational education of the army masses, but also to play a significant role in promoting musical culture among the general population of the country.
The fourth chapter "Development of musical amateur performances in the army environment" examines the main forms of functioning of military music culture in the mass consciousness and behavior of society.
Like any kind of activity of society, artistic, in particular, musical activity historically finds its ally in amateur performance. For example, professional sports activity is based on mass physical education; professional medical activity is related not only to traditional medicine, but also with different forms of self-medication;
the management activity of the society is interested in the development of all types of self-government, especially local, etc. As for amateur performances, it has long been massively developed in our country in various types of art: music, painting, theater, choreography, poetry, photography, etc. The military music culture, in turn, finds an ally in the military music amateur performances.
Along with the active activity of professional musical groups, it was widespread in the army in the 20-30s. XX century received all sorts of forms of amateur creativity. This was due to a number of circumstances:
Firstly, the accessibility of the genres of amateur creativity to the broad masses, who, as a rule, do not have special musical training;
Secondly, in the first years of Soviet military development, there was an acute shortage of professional military music groups, as well as the desire of the broad masses to creative self-expression in the field of art;
Thirdly, by the fact that such types of amateur creativity as choral singing, dancing and many others did not require special material costs;
Fourth, the development of general directions of cultural development in the country, which contributed to the fact that the Red Army became "... the first musical preparatory institution for the masses."
The military and peaceful life of the Russian army has long been closely linked with the war song, the history of which goes back centuries. It is no coincidence that in the first years of the construction of the Red Army, song groups of various composition spontaneously emerged in its units. The urgent need to unite spontaneously emerging song groups into choral circles and studios in order to accumulate experience and develop methodological foundations led in 1920 to the organization of a special choral subsection as part of the Music Bureau. The tasks of the subsection included the development of instructions, lesson plans for leaders of mass
1 RGALI. F. 1943. OP. 1.D. 215.L. 41.
out and amateur choirs, preparation of the repertoire and a set of other activities aimed at improving the choir in the Red Army.
In the first years of the existence of the Red Army, along with the songs of the revolutionary underground ("Varashavyanka", "Marseillaise", "Boldly, comrades, in step ..."), ancient soldiers' and city songs that were widespread in the Russian army became widespread.
Almost simultaneously with the renewal of old melodies and the creation of amateur songs, the first works created by professional composers and writers began to appear in the units of the Red Army.
A huge role in the development and propaganda of the war song was played by creative activity Red Banner Red Army Song and Dance Ensemble of the USSR and its leader A.V. Aleksandrov. The repertoire of this group consisted of both numerous adaptations of popular folk melodies and modern soldier folklore.
The leading role in improving the directions of development and providing methodological assistance to amateur groups of the Red Army and Navy belonged to the bandmasters and musicians of military bands. The emergence of amateur jazz and pop groups, as well as amateur symphony orchestras, has become a common phenomenon on the basis of regular orchestras under the leadership of military bandmasters.
Attaching great importance to art in addressing issues of political agitation and propaganda among the broad masses, the Political Administration of the Red Army carried out a great deal of work to create and introduce new, mass genres, intended for an audience of many thousands, into life. As a result, in the 20s. widespread were massive performances and literary and musical compositions, which were synthetic genres that combined such types of art as literature, theater, dance and music.
The development of army amateur performances was facilitated by the Olympiads and review competitions, which gained great popularity in the 30s. in various districts. The main tasks of their implementation were: checking the condition
amateur performances, the effectiveness of its various forms in each military educational institution, units and subdivisions of the Red Army, as well as the involvement of the broad masses of the Red Army, Red Navy men, command personnel and members of their families in the events.
Thus, on the basis of the material presented, the following conclusions can be drawn:
First, in the 20-30s. XX century in the military music culture, the main types and directions of development of amateur creativity were formed. Its mass forms prevailed;
Secondly, thanks to the amateur Red Army creativity and the involvement of professional composers and poets in the army, the military song received further development, which served as the basis for the emergence of a new genre of mass song in the country's musical culture;
Thirdly, by organizing short-term courses of instructors in various districts and involving the progressive musical community of the country in club work, the provision of amateur groups with leaders was established. In addition, conductors and musicians of military bands carried out a lot of work with the Red Army amateur performances.
Fourthly, in the 20-30s. XX century In the military music culture, active processes of convergence and interaction of professional and amateur creativity were observed, due to which new genres appeared that became widespread not only in the army, but also in society as a whole.
In the conclusion, the main conclusions are formulated, the results of the study are summed up, and its most important results are summarized.
The historical experience of the development of the military-musical culture of Russia shows that music is not only an important factor in the patriotic and moral education of soldiers, but also an integral part of their life. Being a powerful means of military-patriotic, moral and aesthetic education of soldiers, army musical culture has exerted and continues to exert a significant influence on the development of the musical life of the entire country.
Service and creative activities of A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and other musicians, organization of musical and educational, charitable concerts and touring performances throughout the country with the participation of military orchestras, song and dance ensembles and numerous amateur Red Army collectives, the development of a military song - all this convincingly proves the significant influence of the musical creativity of representatives of the army and navy on the development of the musical life of the whole country.
Firstly, military music culture is an integral part of component musical culture of the entire country as a whole, which has general and particular, specific features;
Secondly, the military musical culture has its own rich history of origin, formation and development. It is important to note that it took shape and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over the course of several centuries;
Thirdly, the bearers of the military-musical culture are the entire personnel of the army and navy, regardless of their service affiliation.
Fourth, the military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which was continuity.
Fifth, the analysis of the development of military music culture helps to clarify its place and role in various areas of military activity. The results of the study indicate that since the founding of the first regular regiments of the Russian army, music has gradually become one of the important integral elements of the patriotic, moral and cultural education of soldiers.
The research carried out allows us to draw certain lessons from the historical experience of the development of military music culture. Their essence boils down to the following.
1. The development of military music culture is directly related to the economic, political and cultural development of the state.
2. The flourishing of military music culture is possible only when the state respects its army, delving into its material and spiritual needs.
3. A decrease in interest on the part of the state and the leadership of the armed forces in the cultural education of an officer and a soldier ultimately leads to a weakening of the patriotic and moral education of soldiers both in peacetime and in wartime.
4. To ensure the successful development of military music culture, the armed forces must have a well-organized system of training and staffing military conductors and musicians.
In addition, for more effective activities in the field of military musical education of soldiers, it is necessary to have a well-functioning system of supplying troops with both technical means of propaganda (records, video cassettes, CDs with recordings of classical, military and modern music), and musical instruments, editions of musical scores. collections of military songs, marches, popular domestic music magazines.
The relevance of the topic of the dissertation research, the growing interest in it of culturologists, historians and musicologists also make it possible to formulate some theoretical and practical recommendations:
Firstly, it would be of great benefit to combine the efforts of culturologists, historians and musicologists in the study of various aspects of the development of military music culture from the moment of the inception of the regular army to our time;
Secondly, it is advisable to use the materials of the dissertation research in the courses for the training of officers at the Military University and the Military Institute of Military Conductors.
Third, on the basis of new data on the development of military music culture, it is necessary to clarify the content of reference military and music publications.
1. Mayakin, TK Formation and development of musical amateur performances in units and formations of the Red Army and Navy in 1918-1941. / T.K. Mayakin // Bulletin of the military university. - M., 2009. - No. 4 (20). - S. 62-67.
Other publications:
2. Mayakin, T.K. On the question of the formation and development of professional military music education in Russia (1918-1941) / T.K. Mayakin // Formation and development of military conducting education in Russia: materials of scientific-theoretical. conf. / Military. dir. fak at MGK. - M., 2001 .-- S. 28-41.
3. Mayakin, TK Formation and development of military-conducting education of the Red Army and Navy (1918-1941): textbook / TK Mayakin; Military. dir. fak at MGK. -M., 2002.-30 p.
4. Mayakin, TK Service and concert activities of military orchestras and song and dance ensembles of the Red Army and Navy in 1918-1941. / T.K. Mayakin // Collection of scientific articles by adjuncts / Military. dir. fak at MGK. - M., 2004. -S. 60-87.
5. Mayakin, TK Military bands of the Red Army and Navy / TK Mayakin // Military music of Russia. History and modernity. - M., Military Publishing, 2007 .-- S. 93-114.
6. Mayakin, TK Organization of choral singing in units and formations of the Red Army and Navy in 1918-1941. / T.K. Mayakin // Collection of scientific articles of adjuncts and applicants / Military. institute, military. conductor. - M., 2009 .-- S. 39-50.
7. Mayakin, T. K. Military musical culture of Russia / T. K. Mayakin. -M "SDPress, 2010. - 140 p.
Signed for printing - 10g, Format 60x90 1/16 Screen printing. Offset paper. Service l. 1.5 Circulation 100 copies. Order No. 39 /
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Chapter 1. Specificity and social functions of the military-musical culture of Russia.
Chapter 2. Formation and development of professional music education in Russia.
Chapter 3. Service and concert activities of military orchestras and ensembles.
Chapter 4. Development of musical amateur performances in the army environment.
Relevance of the research topic. The specificity, structure and functions of the military musical culture of Russia largely determine the relevance of its research by the following circumstances.
First, the formation of culturology as an integrated science of culture, with all the diversity of the definition of the concept of "culture", revealed at least three sets of problems that today determine its structure: 1) the theory of culture, 2) the history of culture, 3) applied culturology ... Military music culture is connected with the problems of applied cultural studies, as well as religious, moral, physical, ecological, political and legal culture. The assignment of military music culture to one of the types of culturology presupposes the study of its specificity, originality and peculiarities.
Second, the study of the specifics of military music culture requires an investigation of its social necessity, structure, forms of manifestation and those social functions that it performs. The analysis of these aspects is clearly insufficient in the modern culturological literature.
Third, the study of military music culture, taking into account its multifaceted functions, can help to increase the authority of the Armed Forces of the Russian Federation, especially in modern conditions.
Fourth, the long-term historical experience of the development of Russian statehood has shown that the army is not only an armed force, but also a spiritual one. She gave the people such outstanding figures of culture and art as N.A. Rimsky-Korsakov, A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and others.
Fifthly, the study of military music culture from the point of view of its psychological, national-patriotic role in the education of the personnel of the Armed Forces of our country is relevant.
The degree of scientific elaboration of the problem. It should be noted with regret that the level of scientific elaboration of the problem of the development of military music culture in Russia is very weak and the research is of a fragmentary nature. Consideration of the problem from the class point of view did not always contribute to its holistic study. There are no works in a direct formulation of the question, and only the study of many sources makes it possible to carry out such a study and highlight certain aspects, problems, fragments.
All works, reflecting to varying degrees the problem of the development of military music culture, can be divided into several groups.
The first includes the works of Russian culturologists of a general methodological nature, in which, to one degree or another, the problems of musical culture are touched upon in theoretical terms1.
The second group is represented by complex works of Russian art critics on the history of music and musical culture of Russia2. In them, the problem of the development of military music culture is considered in a general form, in connection with the issues of cultural construction of the state. As a rule, all these works provide a rather detailed excursion into the history of musical life.
1 See: A.I. Arnoldov Man and the world of culture. - M., 1992; Vintshkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet soldier: dis. ... Cand. Philos. sciences. - M., 1984: Vygotsky U.C., Luria A.R. Categories and concepts of the theory of culture. - M., 1985; Dorogova JI.H. Artistic culture and the formation of a soldier's personality: dis. ... Dr. Philos. sciences. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture. - L., 1989, etc.
2 See: Bronfgm E.F. Musical culture of Petrograd in the first post-revolutionary five years: research. - L., 1984; Nikitina L. D. Soviet music. History and modernity. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.
Russia. At the same time, the coverage of issues related to the development of military music culture is fragmentary.
The fourth group includes works devoted to the history of the formation of the Ensemble of the Red Army Song and the creative activity of its first leader A.V. Aleksandrov. "
The named works are of great scientific value and are of great importance, constituting the source base of the research. At the same time, the analysis of the presented monographs, articles, dissertation research shows that the military music culture was not the subject of independent research, and the problem of its development did not receive a sufficiently integral, generalized coverage.
A separate group of sources is made up of documents widely represented in the historical archives of Russia3, and this should also include legislative documents and acts published in different years (decrees, orders, directives, statutes, instructions) that indirectly affect the problem of the development of military musical culture and which made it possible to significantly supplement the source base of research 4.
1 See: E.S. Aksenov. New in the instrumentation of the Soviet military march. - M., 1970; Matveev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music // Reader on the history of military music. - M., 1988. - Part II; V.I. Tutunov 250th Anniversary of the Military Orchestral Service in Russia. - M., 1961, etc.
2 See: B.A. Alexandrov The song is calling. - M., 1982; B.E. Korosshelev Art born by the people. - M., 1991; G.A. Pozhndaev Red Banner Ensemble: The Path of Song and Glory. - M., 1988; Shilov A.B. Unknown songwriters. - M., 1961, etc.
3 In the Russian State Military Archive (RGVA), the Russian State Archive of the Navy (RGA Navy), the Russian State Archive of Literature and Art (RGALI).
4 See: Combat cavalry charter of the Red Army. - Pg., 1920. - Part II-III; Combat infantry regulations of the Red Army. - Pg., 1920. - Part I; Charter of the garrison service of the Red Army. - Pg., 1918, etc.
Another group of sources is formed by memoirs, memoirs, diaries of prominent figures and cultural workers, which provide a subjective assessment of military music, musical culture in general, its role in the moral and psychological education of soldiers1.
Collections of military songs, marches, concert pieces for military orchestras and amateur groups represent a separate type of the studied material.
The subject of this research is the military-musical culture of Russia. Considering that this subject is quite multifaceted, we highlight in it those aspects of analysis that constitute the object of research: the historical formation of military music culture, its specificity, the main social functions and forms of manifestation, the structure of training military musicians and conductors.
The purpose and objectives of the study. The main purpose of the research is the historical and cultural analysis of the specifics, structure and functions of military musical activity.
The purpose made it necessary to study a number of specific tasks that determined the content of the work:
Revealing the social need for military music culture;
Analysis of the specifics of military music culture as a special type of applied culture of society;
Study of the main social functions of military music culture with the definition of their characteristics and meanings;
Study of the structure and characteristics of military music education and training of relevant personnel;
1 See: A.M. Vasilevsky Life's work. - M., 1974; Vsevolzhsky I.E. Prisoners of the Sea.- M., 1961; Furmanov D.A. Chapaev.-M., 1961 and others.
Analysis of the main forms of organization and manifestation of military musical activity.
The theoretical basis of the dissertation research. The theoretical foundations of the research were the works of domestic and foreign authors devoted to the analysis of the social essence of culture, its place in the system of society, the laws governing the formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form - military musical activity. The analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.
Methodological basis for the dissertation research. Methodologically, the work is based on the dialectical method with such basic principles as the principle of polarization, which made it possible to explain the contradictory nature of military music culture as a unity of utilitarian military and artistic and musical activities; the principle of functionality, with the help of which a multifunctional analysis of military music culture was made; the principle of determinism, which made it necessary to study the dynamics of military-musical culture depending on socio-political changes in society.
Scientific novelty of the research. The work investigates the problems that can be of scientific value for cultural studies (theory and history of culture):
First, the specificity of military music culture as a special kind of applied culture has been clarified;
Second, it shows the social determination of military music by changes of a socio-political nature in the country;
Third, the system of social functions of military music culture in public life has been identified;
Fourthly, genres, forms of manifestation and types of military-musical activity have been investigated;
Fifth, the features and structure of military music education at the stage of its formation and subsequent formation have been analyzed;
Sixth, the tendencies and prospects for the development of military musical amateur performances are considered.
Provisions for Defense:
1. The specificity of the military music culture of Russia, presented as a kind of applied culture of society, is determined not only by the general principles of musical creativity, but also by the peculiarities of its application and use in military service activities.
2. The specificity of the applied nature of military music culture is determined by the specificity of personnel training and the content of the structure of the entire system of military music education.
3. The main types and forms of military-musical activity have common and special features in the peaceful and combat conditions of the existence of society.
4. An analysis of the real life of military music culture in the system of society reveals its main social functions: ritual-organizational, organizational-mobilizing, parade-demonstrative, national-patriotic, educational, concert and theater.
5. The military music culture of Russia as a universal and multifaceted phenomenon affects the mass consciousness of society.
The theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a deeper understanding of the problems of applied cultural studies, which develop within the boundaries of general theory and history of culture. This is evidenced by similar studies of the culture of design, culture of behavior, culture of speech, religious culture, etc.
We see the practical significance of the research in the possibility of pedagogical use of these materials not only in the system of military music education, but also in the organization of more effective practical military music activities.
Approbation of research results. The results of the research were presented by the author at meetings of the Department of Culture and Art of the Military University, the Military Conducting Department of the Military Conducting Faculty at the Moscow State Conservatory. PI Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at the scientific-practical conference of the Military Conducting Faculty. The materials of the dissertation are reflected in several articles, as well as in the author's monograph "Military Musical Culture of Russia" (Moscow, 2010) and in the collective monograph "Military Music of Russia" (Moscow, 2007).
The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.
The structure of the thesis. The thesis includes Introduction, 4 chapters, Conclusion and Bibliography.
Conclusion
The historical experience of the development of the military-musical culture of Russia shows that music is becoming not only an important factor in the patriotic and moral education of soldiers, but also an integral part of their life.
In addition, being a powerful means of military-patriotic, moral and aesthetic education of soldiers, military-musical culture also had a significant impact on the development of the musical life of the entire country.
Service and creative activities of A.V.Aleksandrov, S.A.Chernetsky, V.I.Agapkin, L.A. Petkevich and many other bandmasters; the organization throughout the country of musical, educational, charitable concerts and tour performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army collectives, the development of a military song, which was widely used not only in the military environment, but also abroad, - these and other facts confirm the author's opinion about the significant influence of representatives of the Army and Navy on the course of development of the musical life of the entire country.
Thus, the analysis of the development of military music culture allows us to draw some generalizations and conclusions, the essence of which boils down to the following:
Firstly, the military musical culture is an integral part of the musical culture of the entire country as a whole, which, along with common features: the uniformity of the use of musical genres, harmonic tonalities, musical instruments, etc., and their own individual , specifics.
Secondly, the military musical culture has its own rich history of origin, formation and development. It is important to note that it took shape and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over several centuries.
Thirdly, as the results of the study show, the entire personnel of the Armed Forces becomes its carriers, regardless of service affiliation (in pre-revolutionary Russia, the main carriers of musical culture in the army and navy were officers).
Fourth, the military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which is continuity.
Fifth, the analysis of the development of military music culture helps to clarify its place and role in various areas of military activity. The results of the study indicate that since the founding of the first regular regiments of the Russian army, music has gradually become one of the important integral elements of the patriotic, moral and cultural education of soldiers.
First lesson. The accumulated experience shows that the development of military music culture is directly related to the economic, political and cultural development of the state.
Lesson two. The rapid flowering of military music culture is possible only when the state respects its army, delving into its material and spiritual needs.
Lesson three. Historical practice shows that a decrease in interest on the part of the state and the leadership of the Armed Forces in the cultural education of an officer and a soldier ultimately leads to a weakening of the patriotic and moral education of soldiers both in peacetime and in wartime.
Lesson four. An objective analysis shows that to ensure the successful development of military music culture, the Armed Forces must have a well-organized system of training and staffing military conductors, musicians, and cultural educators.
In addition, for more effective activities of these specially trained servicemen in the field of musical education of soldiers, it is also necessary to have a well-functioning system of supplying troops with both technical means of propaganda (records, video cassettes, CDs with recordings of classical, military and modern music) and musical instruments. , editions of musical collections of military songs, marches, popular domestic music magazines.
The relevance of the topic of the dissertation research, the growing interest in it of culturologists, historians and musicologists also make it possible to formulate some theoretical and practical recommendations.
First, it would be of great benefit to combine the efforts of culturologists, historians and musicologists in the study of various aspects of the development of military music culture from the inception of the regular army to our time.
The work on the dissertation made it possible to determine the range of problems that could become a subject for further independent scientific research. These include: "Development of military rituals in the Armed Forces", "Organization of musical leisure of military personnel", etc.
Secondly, it is necessary to publish a methodological manual on the history of the development of military music culture at various historical stages, for work on which it is advisable to involve specialists from the Department of Culture and Art of the Military University and the Department of Theory and History of Music of the Military Institute of Military Conductors.
Third, on the basis of new data on the development of military music culture, it is necessary to clarify the content of reference military and music publications, as well as to supplement the definition of "military music culture", its classification, features and differences.
Fourthly, in connection with the change in political thinking in recent years, as well as the change in ideological guidelines in the minds of the soldiers of the modern Armed Forces of the Russian Federation, there is a need to supplement the sections of the lecture course program at the Department of Culture and Art of the Military University devoted to the artistic culture of military personnel, and in the future to use the accumulated material in the course of lectures on the program of public and state training.
Fifth, it would be advisable to return to the army and the navy many old marches and military songs, for this by publishing several new military collections of songs and marches for various services of the Armed Forces of the Russian Federation. Their introduction into the everyday life of the Russian troops will significantly enrich not only the service and combat repertoire of modern orchestras, but also expand the song repertoire of amateur soldiers' groups.
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On the eve of the XI International Military Music Festival "Spasskaya Tower", which will be held in Moscow from August 24 to September 2, the head of the Central Military Orchestra of the Ministry of Defense of the Russian Federation, Honored Artist of Russia, Colonel Sergei Durygin, told RIA Novosti correspondent Irina Alshaeva about the orchestra's busy tour schedule, preparation for the main international festival of military music and how military musicians relate to playing to the soundtrack.
In what events does the Central Orchestra of the Ministry of Defense of the Russian Federation participate, how wide is the map of its tours, both in Russia and abroad?
The Central Military Band of the RF Ministry of Defense last year celebrated its 90th anniversary. Throughout its existence, the orchestra has traveled all over the USSR and represented our Russian military musical art abroad. Now, although not often, we participate in festivals of military bands abroad.
Our main task is to provide musical accompaniment to events related to the activities of the Russian Ministry of Defense. The most important of them, in which we take part every year, is the Victory Parade on Red Square on May 9, which is a great honor for us. This year, after May 9, the orchestra was on Far east, in Khabarovsk. In June we were in Tambov at the Farewell Slavyanka festival and gave a concert in Crimea. In Belgorod, the orchestra took part in events dedicated to the 75th anniversary of the tank battle on the Prokhorov field. We are now back from Finland. At the international military music festival "HaminaTattoo" we performed together with other ensembles, including orchestras representing the armies of NATO countries. In September we fly to Sakhalin, from there - to the Kuriles.
right I would like to point out that we never play music to a soundtrack. Although this is a common practice in the musical environment, we do not like to deceive the public. We see the reaction of our listeners to live music - it's amazing. People come, listen, sing, many waltz. A person is drawn to live music, so it is interesting that it is performed here and now.
The musical direction of the Spasskaya Tower festival is carried out in a triumvirate of Valery Khalilov's students and associates. Chief of the Military Orchestral Service of the RF Armed Forces - Chief Military Conductor Timofey Konstantinovich Mayakin was chosen to lead it. It includes you and the artistic director, head of the Khalilov Moscow Military Music School, Alexander Petrovich Gerasimov. How is the leadership process organized, is it difficult to implement, and does it interfere with the organization of the creative process?
We continue the traditions that were laid by the creators and ideological inspirers of the festival - the first music director of the Spasskaya Tower (2007-2016), the head of the Military Orchestra Service of the RF Armed Forces - Chief Military Conductor (2002-2016), Lieutenant General Valery Mikhailovich Khalilov , Head of the Service of the Commandant of the Moscow Kremlin FSO of Russia - Commandant of the Moscow Kremlin Lieutenant General Sergei Dmitrievich Khlebnikov, Head of the Directorate of the Spasskaya Bashnya Festival Sergei Nikolaevich Smirnov. They stood at the origins of the festival.
Khalilov had extensive experience of participating in festivals and knew how such events are organized and conducted. This is how the "Spasskaya Tower" appeared - a festival that took the top step on the world military-musical hierarchical ladder. Before him, the most important military tattoo was considered the festival of military music in Edinburgh, Scotland. But we overshadowed it and are proud of it. We see that now there are lines of people wishing to participate in the "Spasskaya Tower", a lot of foreign groups want to come to Moscow for our festival - this is great.
Khalilov, Smirnov and Khlebnikov had and still have students and associates. Among them - we are with Timofei Konstantinovich and Alexander Petrovich. Under Khalilov's leadership, we have gained tremendous experience, traveling to festivals in other countries and working in Russia on preparations for the Spasskaya Tower. We received administrative and musical knowledge, an understanding of how to organize such a large-scale event.
After the death of Valery Mikhailovich, the question arose about the future fate of the festival. The collegiate artistic and public council made a decision - the festival should continue, the work of Valery Mikhailovich should live. Of course, the leadership of the Spasskaya Tower is a joint effort. There is the Public Council and the Festival Directorate - they bear the entire burden of preparing and organizing the entire process. The artistic council is responsible for the musical part. The show itself, into which all the work done is poured into, would never have happened without the director's and production team. As you can see, for the festival to live and develop, a large and professional team has been working on it all these years.
Musicians of the Central Military Band of the Ministry of Defense of the Russian Federation at the closing ceremony of the X International Military Music Festival "Spasskaya Tower" in Moscow
When does the preparation of the Central Military Band of the Ministry of Defense for the Spasskaya Tower festival begin, how long does it take, in what format?
Due to our busy touring schedule, preparations for the Spasskaya Tower are very difficult. We can say that we are preparing for the festival throughout the year, performing with concerts.
What creative experiment do you plan to surprise the audience of the Spasskaya Tower? Last year, the orchestra performed a cartoon medley. Will you present something new this year, or will the audience hear previously performed compositions by the orchestra?
The program is already ready, but there are other ideas, now we are discussing them. I can say that in any case, we will perform at the festival with a new program. Our orchestra has never been repeated. This is difficult, especially considering that the music we perform must match our conservative image as the country's premier military band. We cannot afford what other bands can show. But we are experimenting.
The orchestra's performance will be in rock-jazz arrangements, which I personally really like. As a leader, I have to keep up with the times.
rightOur orchestra had a lot of experiments - we tried to play classical music in a modern arrangement, then experimented with a medley on folk, folklore themes - they went with a bang. They played music from popular domestic films and cartoons - the audience received it "excellently." We can play various foreign music, but we rarely perform it - we are a Russian orchestra (smiles).
I must say that the Germans, French, Norwegians, Dutch and British willingly perform our military marches, even at their own parades. They ask us for notes, we gladly share with them. This is a source of pride. The military marches of our composers are highly professional. They combine the military power of our country, beauty and harmony.
Does the orchestra collaborate with other musical groups? Do you plan to develop creative cooperation with military bands from other countries, organize mutual tours?
We do not often travel abroad due to a busy touring schedule in Russia, but the Ministry of Defense receives two or three appeals a year with a request to send our orchestra to this or that country. Often, the leadership of the military department responds positively to these requests, and we go on tour abroad. This is very important, because we bring our Russian culture to the world. For example, in Finland at the military music festival "HaminaTattoo" we played Tchaikovsky, Shostakovich and Rimsky-Korsakov. The Finns really like our classical music. To pay tribute to the country we are visiting, we will certainly play a piece by their composer. In Finland we performed music by the Finnish composer Jan Sibelius.
In our activity, there were several cases when we performed together with musicians from military bands from other countries. Last year, on the initiative of the Italian side, a joint concert with the Orchestra of the Carabinieri Corps took place. Such events symbolize friendship between countries.
Several years ago, at the Spasskaya Tower, we played with the main orchestra of the Bundeswehr. I would like to note that there are musical elements of Russian musical culture in the German military culture. Some of their military marches were written by our composers. Against the background of the tragedy of relations between Russia and Germany in the past, this joint concert was a very significant event for both countries. We are always open to cooperation with our colleagues.
Does the orchestra perform only already existing military and civilian compositions or does it also create music on its own? Does the music performed by him sound in Russian films?
Yes, we also perform our own compositions written by our musicians. In recent years, Valery Khalilov has written many pieces of music for the orchestra. A huge number of popular works were written at one time by Semyon Chernetsky, Vasily Agapkin, Ilya Shatrov. Max Kyus owns the waltz "Amur Waves", Ivan Dreizin - the waltz "Birch". This music was incredibly popular and went to the people.
The Central Military Orchestra has recorded a huge number of soundtracks for Russian cinema. If you hear in a film, fiction or documentary, a brass band - 95% that this is our recording. When directors contact us, we are happy to respond and provide music for them free of charge. I believe that we have absolutely no right to sell music, because we carry patriotism in it. Patriotism is not for sale. Soon the series "Copper Sun" directed by Karen Hovhannisyan about the military conductor will be released. We have handed over a lot of recordings that I hope will sound in this film.
Musicians of the Central Military Band of the Ministry of Defense of the Russian Federation during the closing of the summer season "Military bands in parks", 2017 - How many musicians are there in the main military band of Russia? Are all of them military personnel?
There are more than 200 people in the orchestra, of which about 80 are military personnel serving under contract and conscription. It is divided into two compositions - wind and symphonic. This is the traditional division for large orchestras. The Presidential Orchestra of the Moscow Kremlin Commandant Service of the Federal Security Service of the Russian Federation, the orchestras of the Russian Guard and the EMERCOM of Russia are organized on the same principle. However, in our orchestra these are not separate groups. The symphony orchestra is more of a pop-symphonic orchestra: it performs pop music on wind instruments in various arrangements. But classical music - by Beethoven, Mozart, Tchaikovsky and other legendary composers - is performed by a symphonic line-up.
How can a person interested in a career as a military musician get into the Central Orchestra of the Ministry of Defense? What is necessary for this - a musical education confirmed by a diploma, a military ID?
right- Getting into the orchestra is not difficult if there are vacancies. But the main thing is that you need to be an excellent specialist, to master perfectly musical instrument... You also need to take into account the fact that physical training is mandatory for us, as for all military personnel - we pass sports standards. That's right - the conductor and the musicians must be smart. The appearance should be at its best. Agree, it's not very pleasant to see an unkempt person in a military band.
However, the main thing for a military musician is to flawlessly perform one of the symbols of our state - the anthem of Russia. A musician has absolutely no right to perform it badly. Therefore, our sports loads are dosed, we devote more time, of course, to music. It is necessary to devote at least three hours only for daily individual preparation. I compare a musician to an athlete. Should an athlete not work out for 2-3 days, he loses shape. It's the same with a musician. It costs him less to practice - he starts to play worse.
Valery Mikhailovich Khalilov and I constantly played mini-football on Wednesdays, and we continue to play with colleagues now. In memory of Valery Mikhailovich, we made identical T-shirts with a patch on the sleeve "Khalilov 7". Valery Mikhailovich always took care of himself, went in for sports. Because he understood that he had to look decent on stage in front of his audience.
Military Band Service of the Armed Forces of the Russian Federation- the formation (special service) of the Armed Forces of the Russian Federation, designed to contribute to the spiritual and cultural development of military personnel and civilian personnel of the Armed Forces of the Russian Federation, to train qualified personnel of military conductors and musicians.
Subordinated to General Staff Armed Forces of the Russian Federation.
In 1804, military bands were introduced in the Don, Black Sea, Ural and Orenburg Cossack troops. In 1804, the Baltic Fleet was determined to have 100 trumpeters, 36 musicians and 4 timpani. By the time the Orchestras of the Black Sea Fleet reach the same number as the Baltic ones. During 1808-1809. a large number of new guards units, both infantry and cavalry, were created, where the decree of Alexander I provided for the presence of 25 guards military bands. In the Preobrazhensky regiment, a staff of 40 people is established. The instrumental compositions of these orchestras were clarified by an additional decree dated April 15, 1809. The Preobrazhensky regiment had 40 instruments, and the other guard regiments had 25 instruments. Thus, it is obvious that the orchestras have enriched themselves with new instruments. Woodwind instruments were the predominant group in these orchestras (28 in an orchestra of 40 instruments and 17 in an orchestra of 25 performers). Nevertheless, three main groups of instruments were clearly defined: woodwind, brass (with a natural scale) and percussion instruments. This type of orchestra of mixed composition had a wide orchestral range, a variety of timbre colors and could be successfully used to perform works of drill and concert repertoire. The French theorist J. Kastner wrote:
“In 1813, Russian music, which has always retained its stamp of originality, reached such a level of perfection that it attracted the attention of even German musicians, arousing their praise. Russian Guards music had all the instruments that were in use in that era, about the same ones that were in use in Germany and used them when performing brilliant marches. "
Along with the quantitative increase in the composition of the guard orchestras and the enrichment of their composition with new instruments, serious efforts were made to train future military musicians. Thus, the task of the Training Grenadier Battalion, formed in 1808, along with the training of non-commissioned officers, was also the training of "musicians, drummers and flutes." The training battalion consisted of 4 grenadier companies and 2 “non-ranked companies: musician and drummer”.
The company that trained musicians for the troops included a conductor and 150 people, divided by 25 musicians in six orchestras. Drummers and flute players were trained especially for the signal service in the "drummer" company. Each year, the Grenadier Training Battalion was supposed to produce 75 musicians for the army. Trumpets for the cavalry were trained in the Training Cavalry Squadron and other military units.
The annual concert activity of military orchestras began in November 1813 in the hall of the Philharmonic Society of St. Petersburg, then in April 1814, and the third concert, which brought in an income of 52 thousand rubles, on March 19, 1816, by the day the Russian troops entered Paris in 1814. The so-called "invalid" concerts, the proceeds of which went to war veterans, began to be held annually, right up to the outbreak of the First World War. They walked in both capitals and other cities, in which, as a rule, combined orchestras and soldiers' choirs took part. Their repertoire invariably included works of a heroic and patriotic plan: the polonaises by O. Kozlovsky, the choral piece by K. Cavos "Couplets of 1814", as well as the works of the classics - Mozart, Gluck, Beethoven. Military bands, going beyond the location of their parts, played a certain positive role in educating the musical taste of the listeners.
In the 19th century, as before, the emphasis was on the creation of drill music intended for orchestras to perform their main service function, that is, marches. Published by the music publisher Dalmas, the 4-volume edition of 208 scores written in the period from 1809 to 1829 was a milestone for the musical culture of Russia as a whole. There are two types of marches in the collection: quiet and fast. The authors of the marches of the publication of G. Dalmas are: A. Dörfeldt-father (over forty marches), K. Kavos, N. Titov, O. Kozlovsky, Antonolini, D. Steibelt and others. One hundred and ten marches are printed without any indication of the authors. Quiet march of the L.-G. Semyonovsky regiment was written by its commander, General A. Rimsky-Korsakov. The themes of the marches were often folk songs, for example, in one of the fast marches of A. Alyabyev, the soldier's song "Along and along the river" was used. Several marches by this composer are based on folk song intonations.
The basis of the cheerful and cheerful "Paris March of 1815" by the composer is the songs of Ukrainian folklore, where intonation connections with the song "Doschik, Doschik" are clearly traced.
The fast marches were more lively in character and often included an element of dance or folk song. Several marches of this edition are similar in their metro-rhythmic structure to modern "column" marches. Several marches have opera melodies as their themes, for example, The March of the Cavalry Regiment by the composer F. A. Boaldieu is based on the thematic material that the composer used in the opera The White Lady (1825).
