MANIFESTATION OF THE PRINCIPLE OF ROTATION IN SHAPING THE MUSICAL LIFE OF KUZNETSK AND MARIINSK COUNTIES
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78.03(470-571)
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Information about authors: Pomortseva Nina Vladimirovna, PhD of Art History, Department Chair of Musicology and Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@mail.ru
Annotation: The article is devoted to analysis of the historical and cultural processes underway in line with the formation of the musical life of Kuznetsk and Mariinsk Counties (the future territories of modern Kemerovo Region). Identifying the certain regularities of the development of musical life conditions of the counties, the author considered useful to trace the influence on the development of the musical life of the rotation principle (the principle of interaction between the centre and the periphery, entered in scientific terminology by Marina Drozhzhina and Irina Kozlovskaya). In this study, the actions of the universal principle of rotation, enhanced by the boundaries of understanding the “Center” category. In the role of conditional, “Centre” serves not only the capital of the province or city and Central (European) Russia towards a remote Siberian region, since all life here (and throughout Siberia) was originally formed in migration traditions of the European part. A full analysis of these phenomena is based on three levels of the rotation principle, which refers to the actual rotation (rotation of personnel), the chorus has various repertoire rotation (diffusion) and mixed type (rotational diffusion). In the context of the historical conditions for the formation and development of musical life in designated County territories, the author pays attention to the emergence of mixed levels of rotation (the musical traditions of immigrants from the central regions of the Russian Empire, Ukraine and Belarus, as well as exiles, POWs of Swedes and Poles), repertory rotation (repertoire of barnstormers, songs of gold-diggers, repertoire of technical innovations like a gerofon and phonograph) and personnel rotation (activities in the region of individuals). The author concludes that, despite the amateur level of the development of musical life in Kuznetsk and Mariinsk Counties on pre-revolutionary stage, these territories formed a fertile ground for further flourishing the art of music already in subsequent Soviet and post-Soviet era.
Keywords: diffusion, displaced persons, personnel rotation, musical life, repertoire, repertoire’s rotation, rotational diffusion, rotation, tradition.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Pomortseva Nina Vladimirovna, PhD of Art History, Department Chair of Musicology and Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@mail.ru
Annotation: The article is devoted to analysis of the historical and cultural processes underway in line with the formation of the musical life of Kuznetsk and Mariinsk Counties (the future territories of modern Kemerovo Region). Identifying the certain regularities of the development of musical life conditions of the counties, the author considered useful to trace the influence on the development of the musical life of the rotation principle (the principle of interaction between the centre and the periphery, entered in scientific terminology by Marina Drozhzhina and Irina Kozlovskaya). In this study, the actions of the universal principle of rotation, enhanced by the boundaries of understanding the “Center” category. In the role of conditional, “Centre” serves not only the capital of the province or city and Central (European) Russia towards a remote Siberian region, since all life here (and throughout Siberia) was originally formed in migration traditions of the European part. A full analysis of these phenomena is based on three levels of the rotation principle, which refers to the actual rotation (rotation of personnel), the chorus has various repertoire rotation (diffusion) and mixed type (rotational diffusion). In the context of the historical conditions for the formation and development of musical life in designated County territories, the author pays attention to the emergence of mixed levels of rotation (the musical traditions of immigrants from the central regions of the Russian Empire, Ukraine and Belarus, as well as exiles, POWs of Swedes and Poles), repertory rotation (repertoire of barnstormers, songs of gold-diggers, repertoire of technical innovations like a gerofon and phonograph) and personnel rotation (activities in the region of individuals). The author concludes that, despite the amateur level of the development of musical life in Kuznetsk and Mariinsk Counties on pre-revolutionary stage, these territories formed a fertile ground for further flourishing the art of music already in subsequent Soviet and post-Soviet era.
Keywords: diffusion, displaced persons, personnel rotation, musical life, repertoire, repertoire’s rotation, rotational diffusion, rotation, tradition.
