MILITARY TATTOO IN THE CONTEXT OF FOREIGN AND DOMESTIC MILITARY MUSICAL CULTURE
UDC index:
792.01
DOI: 10.31773/2078-1768-2019-48-91-97.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198392
Article file: Download
Information about authors: Trakhanov Oleg Nikolaevich, Graguate Student, Department of Directing the Theatrical Performances and Festivals, St. Petersburg State University of Culture and Arts (St. Petersburg, Russian Federation). E-mail: trakhanov.oleg@yandex.ru Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com
Annotation: The article is devoted to the inception of the English military music tradition, its main artistic transformations, in the process of which the following performance practices were formed: “military bands” are the military music bands, which included people exempted from military service, and “tattoo,” the evening military ritual, which is woven into the soldiers’ leisure time. When learning “tap-toe,” considerable attention is paid to two major vectors of its development: the first one – revealing how the ritual was used to schedule the army life activities – in particular, to regulate the nighttime of soldiers, and the second one, depicting how the ritual became a matter of a show. Therefore, an interaction between elements of dynamic and musical structure of military orchestral performances, that is, the simultaneous performance of the instrument and the implementation of synchronous exercises, has been studied in much detail. Besides, the article considers the integration process of “tap-toe” into Russia: from its use in military rituals to its introduction into the public civil world. Another topic of study is the Russian military music tradition, inception of special forms of its performance among which “platz-parade,” where the orchestra is not static but plays in movement artistically enlivening the parade ground, and “historical concerts” in which military music is aestheticized and separated from a purely military appropriation; it gets demilitarized and the repertoire of military bands expands significantly. In addition, the article analyzes merging the English and Russian traditions of military music, where the Russian “Evening Dawn” ritual, which absorbed the main aesthetic principles of “tap-toe” and platz-parade, becomes a phenomenon of non-military, peaceful life and becomes a background of peaceful or leisure time.
Keywords: military ritual, military tattoo, demilitarization, military performances, military music culture.
DOI: 10.31773/2078-1768-2019-48-91-97.
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198392
Article file: Download
Information about authors: Trakhanov Oleg Nikolaevich, Graguate Student, Department of Directing the Theatrical Performances and Festivals, St. Petersburg State University of Culture and Arts (St. Petersburg, Russian Federation). E-mail: trakhanov.oleg@yandex.ru Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com
Annotation: The article is devoted to the inception of the English military music tradition, its main artistic transformations, in the process of which the following performance practices were formed: “military bands” are the military music bands, which included people exempted from military service, and “tattoo,” the evening military ritual, which is woven into the soldiers’ leisure time. When learning “tap-toe,” considerable attention is paid to two major vectors of its development: the first one – revealing how the ritual was used to schedule the army life activities – in particular, to regulate the nighttime of soldiers, and the second one, depicting how the ritual became a matter of a show. Therefore, an interaction between elements of dynamic and musical structure of military orchestral performances, that is, the simultaneous performance of the instrument and the implementation of synchronous exercises, has been studied in much detail. Besides, the article considers the integration process of “tap-toe” into Russia: from its use in military rituals to its introduction into the public civil world. Another topic of study is the Russian military music tradition, inception of special forms of its performance among which “platz-parade,” where the orchestra is not static but plays in movement artistically enlivening the parade ground, and “historical concerts” in which military music is aestheticized and separated from a purely military appropriation; it gets demilitarized and the repertoire of military bands expands significantly. In addition, the article analyzes merging the English and Russian traditions of military music, where the Russian “Evening Dawn” ritual, which absorbed the main aesthetic principles of “tap-toe” and platz-parade, becomes a phenomenon of non-military, peaceful life and becomes a background of peaceful or leisure time.
Keywords: military ritual, military tattoo, demilitarization, military performances, military music culture.
