Head of the military orchestra service Timofey Konstantinovich Mayakin. Timofey Mayakin: the Intercession Cathedral will be decorated with a light show at the Spasskaya Tower

Orchestras in parks and on Red Square - all this is summer Moscow.

The head of the Military Band Service is the chief military conductor, Colonel Timofey Mayakin. Photo by Nadezhda Tikhomirova.

About the capital’s program “Military Bands in Parks”, about the XI International Military Music Festival “Spasskaya Tower”, about what the Military Band Service of the Armed Forces is doing today Russian Federation, says her boss, chief military conductor Colonel Timofey Mayakin.

– Timofey Konstantinovich, we can say that the spring-summer time for military musicians is the busiest in terms of the number of performances. The “Military Bands in the Parks” season began in Moscow on May 19 and will last until August 18. From August 24 to September 2, the capital will be delighted by 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 military bands performing 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 management of the International Military Music Festival “Spasskaya Tower”, with the support of the Ministry of Defense of the Russian Federation and the Moscow government, at one time began and successfully continues to work to revive this wonderful tradition.
For the first time, the “Military Bands in the Parks” program was implemented by the management of the Spasskaya Tower Festival in 2016 on the territory of VDNKh. The performances of the military groups were so warmly received by the audience that it was decided to make the program an annual event. In 2017, it was expanded: the number of concerts and city venues for them increased. The best military orchestra groups of our country take part in the performances. The project program is formed and approved directly by the Military Band Service of the Armed Forces of the Russian Federation. It should be noted that this year the “Military Bands in the Parks” program is complemented by performances by dance couples - participants in the “Moscow Longevity” project, which is implemented by the capital’s Department of Culture. Another feature of this year was the participation of volunteers from the Moscow Cultural Center “Novoslobodsky Park” in the event. In total, thirteen Moscow parks and squares are involved in the “Military Bands in Parks” program in 2018.

Military bands, the creative units of our army, are always in combat readiness

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 the military exemplary orchestra of the guard of honor, the military orchestra of the 154th separate commandant's Preobrazhensky regiment and the Suvorov orchestra of the Moscow Military Music School named after Lieutenant General Khalilov. On the same day, our musicians also performed on 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 Hill. The concert began with a performance by drummers, then the program was continued by the Orchestra of cadets of the Military Institute (military conductors) of the Military University of the Russian Ministry of Defense under the direction of the chief conductor - head of the orchestra, professor, Honored Artist of the Russian Federation, Colonel Mikhail Mikhailovich Trunov. On June 2, two concerts took place as part of the celebration of Children's Day. The Presidential Orchestra of the Moscow Kremlin Commandant's Service performed in the Alexander Garden near the Italian Grotto Federal service protection of the Russian Federation. In Muzeon Park on the Crimean embankment, near the “dry” fountain, the Military Orchestra of the Military University of the Russian Ministry of Defense presented its concert program. 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 Band of the Russian Ministry of Defense gave a master class in the Moscow Hermitage City Garden. 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 a unique repertoire. It harmoniously combines beloved melodies of past years, classical works and popular modern songs in an original orchestral arrangement.
The closing of the season will take place on August 18 in the Alexander Garden, where the Central Military Band of the Russian Ministry of Defense and the Central Concert Exemplary Band of the Russian Navy will play.
And then Muscovites and city guests 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.
– What is special about the current performances of the Spasskaya Tower? Who will take part in them this time? And did the sanctions affect the composition of teams from abroad?
– Military music can be considered one of the best diplomats. It has no boundaries. This is a unique, perfect tool for intercultural dialogue. And we have never had problems with international representation at this, the youngest military tattoo in the world. From the moment of his appearance he
immediately became one of the most prestigious music forums. And every year it grows and develops, becoming a larger-scale and 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 musical director of the festival, Lieutenant General Valery Mikhailovich Khalilov, who then headed the Military Band Service of the Russian Ministry of Defense.
Sergei Dmitrievich, together with the head of the festival directorate Sergei Smirnov and
The Military Band Service of the RF Armed Forces successfully continues this project.
This year, as always, you can see a vibrant performance on Red Square again. There will be performances by the best Russian and foreign military orchestras and creative groups. It will be an enchanting theatrical performance with light installations and grandiose evening fireworks.

Musical change.

The geography of the countries participating in the festival traditionally covers all parts of the world. This year, the Imperial Youth Orchestra from the city of Brentwood in the UK, the Carabinieri Orchestra of the Prince of the Principality of Monaco, the unique “Crescendo” bicycle orchestra from the Netherlands, the orchestra of the Royal Guard of Oman, the Corps of the “Old Grenadiers of Geneva” from Switzerland, the military orchestra of Sri -Lankas, as well as the International Celtic Pipe and Drum Orchestra. A number of groups will take part in performances of the Spasskaya Tower for the first time.
This year, also for the first time, due to numerous requests from the audience, a daytime performance will take place as part 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 afternoon performance.

Today, the Military Band Service of the Armed Forces of the Russian Federation includes more than two hundred orchestras with a total number of about four thousand people

Undoubtedly, the horse show at the special arena will also be very interesting. Performances here by the Cavalry Honor Escort of the Presidential Regiment of the Service of the Commandant of the Moscow Kremlin of the Federal Security Service of the Russian Federation and representatives of the equestrian club “Kremlin Riding School” became an integral part of the socially oriented cultural life of the festival. I would like to note that over 10 years, more than 200 performances took 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 famous foreign groups.
The beloved “Spasskaya Tower for Children” program will also receive further development, including an annual competition for children’s and youth brass bands and a review of children’s guards of honor from various regions of Russia. And in the thematic tents of the Children's Town there will be daily exhibitions, master classes, competitions, relay races and games, which everyone will be able to visit completely freely.
– At the beginning of the conversation, you noticed that military musicians have an extremely busy year with performances. How many bands in the Military Band Service perform the corresponding tasks?
– Today 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 government events. And not only. There are many large-scale military band festivals taking 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 peculiarity, a certain style of performance that it has developed. Music is constant work, a search for that individual performance that distinguishes one group from another. And we must not forget: our activities are closely connected with the lives 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 discover talent among military personnel and members of 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 Band Service includes: the governing body of the Military Band Service, the Central Military Band, the Military Exemplary Band (honor guard), the Central Concert Exemplary Band of the Navy named after Rimsky-Korsakov, military band services of military districts, military bands headquarters of military districts and military bands of military units. Of course, it also includes educational institutions. This is the Moscow Military Music School named after Lieutenant General Khalilov, which graduates specialists with 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 structured?
– Firstly, an annual inspection of the orchestral services on site is carried out. For this purpose, a special commission is being created headed by the head of the Military Band Service. But, in addition to this, for professional growth there are also military band reviews and competitions on an army-wide scale. They take place 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 and 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, during the days when the XII International Military Music Festival “Spasskaya Tower” will be held.
– What should orchestras show during the annual inspection?
– For the arrival of the commission, at least two new concert programs must be prepared, each lasting up to an hour, and a parade concert. Each orchestra is required to perform the National Anthem of the Russian Federation and the following works: “Hail” by Glinka, “Dismounting of the Guards” by Pavlov, “Red Dawn” by Chernetsky, two drill marches and two “Counter Marches”. In addition, works from the concert repertoire are auditioned, which should include transcriptions of works by domestic and foreign classical composers, as well as original works for brass band. The inspection ends with the execution of the parade-ground concert program. It is important to note that during the inspection we do not only assess the level of training 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.
– What other activities, besides checking the work of local orchestras, is the Military Band Service related to?
- Of course, this is the musical support for military parades on May 9 - on Red Square, in hero cities, cities of military glory. In all other cities where parades are held.
If we take festival activities, the VII International Military Music Festival “Amur Waves” recently took place in Khabarovsk. It was attended by military bands from Russia, Kazakhstan, Mongolia and a Celtic bagpipe and drum orchestra representing the European Union. The VII International Festival of Brass Bands named after Vasily Agapkin and Ilya Shatrov ended in Tambov the other day. It was attended by six orchestras from different cities of the country, 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 military conductor Lieutenant General Valery Mikhailovich Khalilov was unveiled. The monument is made in full height and installed on a granite pedestal, 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 Moscow sculptor Alexander Mironov.
The Central Military Band will perform from June 28 to July 5 in Armenia. Last September, our military musicians already participated in the first annual interstate Russia-Armenia festival “The main thing is to serve the Fatherland.” It is conducted by the International Arno Babajanyan Memorial Foundation with the support of the Ministries of Defense of Russia and Armenia. After this, our military orchestra waits at its festival for the city of the first fireworks, the city of military glory Belgorod.
Musical support for the main naval parade in St. Petersburg to commemorate Navy Day is just around the corner.
From July 30 to August 5, the Central Military Band will perform at the International Military Music Festival in Hamina, Finland.
We have already talked about the Spasskaya Tower. And from September 22 to October 1, the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov will be on a business trip to Switzerland as part of international military cooperation between the Russian Federation and the Swiss Confederation. For more than 25 years, students of the school have been taking part in annual events dedicated to the anniversary of the crossing of the Russian Army under the leadership of Field Marshal Suvorov through the Alps.
– In an old bard song by Vladimir Vasiliev there are these 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?

Talents are gathered here.

– Let these 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 students of the Moscow Military Music School named after Lieutenant General Khalilov, I am sure, military music has become destiny and love forever. They are its faithful successors and guardians. And the competition among applicants to the school is very serious.

— How do you feel about the fact that military bands perform at civilian festivals? Do your orchestras receive offers to perform at such events?

— The activities of military bands cannot be limited to providing music for military rituals, concert performances and working with amateur musical performances in their military units. Military bands must and do perform in parks, take part in various music festivals and projects, and go to city concert venues. These are long-standing traditions. And many examples can be given. Thus, in holding the rock festival "Invasion" in different years The Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov and the Central Concert Exemplary Orchestra of the Navy named after Rimsky-Korsakov took part. Yes, they performed in their own format, showed parade 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 for May 1945. In preparation for the international military music festival "Spasskaya Tower", military bands have been delighting Muscovites and guests of the capital with their performances in Moscow parks for three months.

— Have you encountered any difficulties associated with the increasingly complex foreign policy situation?

— I wouldn’t say that this somehow affected our teams. Just this year, 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 orchestra of the headquarters of the Eastern Military District will demonstrate its skills at a military music festival in China. Every year, for more than twenty years, at the invitation of the Swiss side, the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov goes to Switzerland with concert performances on the days of events dedicated to the transition of Generalissimo Suvorov through the Alps. Russian military bands have been and remain in demand at prestigious international festivals abroad. There are a lot of proposals coming in. By the way, military music festivals held in our country do not experience problems with the arrival of foreign orchestras in our country. This is confirmed by the composition of participants in international festivals held in Tambov, Yuzhno-Sakhalinsk, Khabarovsk and Moscow. For example, guests of the Spasskaya Tower festival this year will be 12 foreign groups with the widest geography.

— Have all the invitations sent to foreign participants been accepted?

— Let me remind you that the current Spasskaya Tower festival will be the tenth. Jubilee. And over the years, it has acquired truly international recognition and prestige. Almost immediately he entered the top three among his kind in the world. There are a lot of applications for participation, but the time frame for submission is limited. Therefore, unfortunately, this year not all teams that 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 management constantly.

— Has Mireille Mathieu confirmed her participation?

- Certainly. As in the past, Mireille Mathieu will take part in this festival as an honorary guest. She has said more than once that she always looks forward to this event and prepares for performances with great trepidation.

00461 ZU-^I As a manuscript

Mayakin Timofey Konstantinovich

MILITARY MUSICAL CULTURE OF RUSSIA (HISTORICAL AND CULTUROLOGICAL ANALYSIS)

24.00.01 - Theory and history of culture

Nizhny Novgorod - 2010

THE WORK WAS COMPLETED AT THE NIZHNY NOVGOROD STATE ARCHITECTURAL AND CONSTRUCTION UNIVERSITY

Scientific supervisor 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

State Educational Institution of Higher Professional Education "Nizhny Novgorod State Pedagogical University"

The defense will take place on November 17, 2010 at 12 noon 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 dissertation 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 CHARACTERISTICS OF THE WORK

Thirdly, the study of military musical culture, taking into account its multifaceted functions, can help increase the authority of the Armed Forces of the Russian Federation, especially in modern conditions.

Fifthly, it is relevant to study military musical culture from the point of view of its psychological, national-patriotic role in the education of personnel of the Armed Forces of our country.

contributed to its holistic study. There are no works that directly pose the question, and only the study of many sources makes it possible to conduct such research and highlight individual aspects, problems, and fragments.

The first includes works of Russian culturologists of a general methodological nature, which to one degree or another touch upon the problems of musical culture in theoretical terms.1

The second group is represented by complex works of domestic art historians on the history of music and musical culture of Russia.2 In them, the problem of the development of military musical culture is considered in a general form, in connection with issues of cultural construction of the state. As a rule, all these works provide a fairly detailed excursion into the history of musical life in Russia. At the same time, coverage of issues related to the development of military musical culture is fragmentary.

The fourth group includes works devoted to the history of the formation of the Red Army Song Ensemble and creative activity its first leader A.V. Aleksandrova.4

1 See: Arnoldov A.I. 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 warrior: dis. ...cand. Philosopher Sci. - M., 1984: Vygotsky L.S., Luria A.R. Categories and concepts of cultural theory. - M., 1985; Dorogova L.N. Artistic culture and the formation of a warrior’s personality: dis. ... Doctor of Philosophy Sci. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture. -JI., 1989, etc.

2 See: Bronfin 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.

3 See: Aksenov E.S. 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 Reader on the history of military music. - M„ 1988. - Ch. N; Tutunov V.I. 250 years of the Military Band Service in Russia. - M., 1961, etc.

4 See: Alexandrov B.A. The song is calling. - M., 1982; Korostelev B.E. Art born of the people. - M., 1991; Pozhidaev G.A. Red Banner Ensemble: the path of song and glory. - M., 1988; Shshov A.V. Unknown authors of famous songs. - M., 1961, etc.

A separate group of sources consists of documents widely represented in the historical archives of Russia,1 this should also include legislative documents and acts published in different years (decrees, orders, directives, charters, instructions), indirectly affecting the problem of the development of military musical culture and which made it possible to significantly supplement research source base.2

Another group of sources consists of memories, memoirs, diaries of prominent figures and cultural workers, in which they left a subjective assessment of military music, musical culture in general, and its role in the moral and psychological education of soldiers.3

The subject of the study is the military musical culture of Russia. Considering that this subject is quite multifaceted, we highlight those aspects of analysis that constitute the object of study: the historical formation of military musical culture, its specifics, the main social functions and forms of manifestation, structure of training of military musicians and conductors.

1 Russian State Military Archive (RGVA), Russian State Archive of the Navy (RGA VMF), Russian State Archive of Literature and Art (RGALI).

2 See: Combat cavalry regulations 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.

Theoretical basis of the dissertation research. As theoretical foundations The research was based on 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 patterns of formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form - military musical activity. Analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.

Methodological basis of the dissertation research. Methodologically, the work is based on the dialectical method with such basic principles as the principle of polarization, which makes 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 musical culture is made; the principle of determinism, which necessitated

research into the dynamics of military musical culture depending on socio-political changes in society.

4. Analysis of the real existence of military musical 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 musical culture of Russia, as a universal and multifaceted phenomenon, influences the mass consciousness of society.

Theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a more in-depth understanding of the problems of applied cultural studies, which develops within the boundaries of general theory and cultural history. This is evidenced by similar studies of design culture, behavior culture, speech culture, religious culture, etc.

Approbation of research results. The results of the study 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. P.I. Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at a scientific and practical conference of the Military Conductor Faculty. The dissertation materials are reflected in several articles, as well as in the author’s monograph “Military Musical Culture of Russia” (M., 2010) and in the collective monograph “Military Music of Russia” (M.: Voenizdat, 2007).

Structure of the dissertation. The dissertation of 149 pages consists of introduction, 4 chapters, conclusion and bibliography, including 282 titles and 153 archival sources.

II. MAIN CONTENT OF THE WORK

The introduction substantiates the choice of topic, object and subject of research, defines issues and objectives, gives short review literature, explains the theoretical and methodological basis of the study.

In the first chapter - “Specifics and functions of the military musical culture of Russia” - in accordance with the purpose and objectives of the study, the specifics and social functions of the military musical culture are clarified. Since they are mainly presented at 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. The French scientist A. Mol 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 spiritual and practical activity of society as a whole or its individual groups (ethnic, professional, age, etc.) in the creation, accumulation, storage, development and dissemination of musical works deserves attention. art and material values associated with music.

It must be stated that it is the activity approach that allows us to understand the functional nature of both culture in general and military musical culture in particular. Military musical culture is considered as a specific type of applied culture, i.e. such a musical culture that is aimed at military service activities. This double determination determines its specificity, which is reflected in the historical development military musical culture, both in its empirical description and theoretical explanation.

1 Mol A. Sociodynamics of culture. - M., 1973. - P. 35.

The military musical culture of Russia is considered in this study as the culture of a certain professional group of society. Based on this, it is presented as a set of processes and phenomena of the spiritual and practical activity of soldiers of the Army and Navy in the creation, accumulation, storage, development and distribution of works of musical art and material assets 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 layers 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 methods of musical activity of people standing at different levels of the social ladder and possessing different levels professional training. These methods directly serve knowledge, training, education and unity of army and navy teams.

Spiritual musical culture, as the history of its development shows, is inextricably linked with material culture, which is presented as a set of public musical and administrative structures, musical instruments, as well as factories, factories, workshops producing musical instruments and musical household items, intended to provide and regulate process of education and enlightenment.

Military musical culture, which is a reflection of the social, political and musical life of the country, along with 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 have always 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 life of the armed forces is determined by a rigid management structure and a stable organization of everyday life, which cannot do without military brass music;

c) The Army and Navy have always defended the national interests of Russia. And even in the difficult days of hostilities, military musical culture played its role. This is how P. Alabin, a participant in the defense of Sevastopol, describes the battle: “... they sound the alarm, drums rattle in some places, in others the rattling, sharp sounds of a signal trumpet are heard. The sounds of both those instruments and others serve the same purpose: calling everyone to their places, inspiring and warning of impending danger.”1

The formation and development of military musical culture was due to the following reasons:

Changes in the foreign and domestic policies 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 musical culture, it is necessary to take into account a number of features of its formation, which are as follows:

a) musical and artistic experience and spiritual needs in this area of culture among different categories of military personnel were at different levels;

1 Alabin P.V. Four wars: field notes. - M., 1892. - Part 3.

b) the use of musical art during drill reviews, military rituals and ceremonies, in which both command and rank and file took part, was universal; music occupied one of the leading places in the established 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 services, etc.), which was enshrined in the requirements of charters, manuals and other governing documents.

Military musical culture performed a number of functions in society, thanks to which its effective nature and relative independence were realized. These features include:

Ritual-organizational - the use of music in various types of professional service and combat activities (accompaniment of military rituals, ceremonies, etc.);

Organizational and mobilizing - the use of musical means to signal command and control of troops and increase the morale of military personnel during military operations;

Ceremonial and demonstrative - musical accompaniment of the daily activities of troops in peacetime (during campaigns, in military camps, etc.);

National-patriotic - the formation of the spiritual world of military personnel, educating them in the spirit of devotion to the Fatherland, propaganda of the existing system;

Educational and educational - instilling knowledge of a cultural, art and historical nature;

Concert and theater - organization of recreation and leisure.

Some functions (national-patriotic, educational-educational, concert-theater) were characteristic of the entire musical culture, and some (ritual-organizational, organizational-mobilizing, ceremonial-demonstrative) had a purely military function.

professional character. This clearly confirms that 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 musical culture are: mass character, continuity, and the ability to have a strong emotional impact. Studying military musical culture, one can note some differences between the naval musical culture and the army. The specificity of naval service is determined by the confined space of a ship, the long stay of sailors far from their native shores, and the absence of orchestras on small ships. All this gave birth to 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 even the pagan Slavs (5th - 7th centuries) sang songs at the graves of their ancestors, singing in them the exploits of the heroes who glorified their family. The songs were composed by singers and transmitted exclusively orally, which explains the small number of examples that have survived to this day.

In military life, musical culture received its further development. The use of the first musical instruments is associated with the beginning of military campaigns. The earliest mention of pipes is found in the narrative of the siege of Kyiv by the Pechenegs in 968.

During the XI - XII centuries. musical elements received further distribution in military affairs. The “Tale of Igor’s Campaign,” which describes the events of 1185, says: “... trumpets are blowing in Novgorod, banners are standing in Putivda.” And further: “and my Kuryans, experienced knights, are surrounded by pipes, rocked under helmets, fed by the end of a spear...”1

Both in ancient Kievan Rus and subsequently in the Principality of Moscow (XIV - XV centuries), military music and the wind instruments that formed its basis occupied a prominent place. 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 campaign. - L., 1990. - P. 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 attraction to music of the Western European type was especially evident in the 2nd 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 routine of the royal family.

The end of the period of the emergence of military musical culture is associated with social and government activities Peter I. In 1711, by a special decree of Peter I, the provision on “Military music choirs” was introduced, which legally established the status of choirs in regiments, staffing structure, etc. This marked the beginning of the development of military orchestra service in Russia. Great The merit of Peter I was also 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 commanders, changing guards, etc.

The further formation of military musical 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 levels of military bands. In a number of regiments, two “military music choirs” were established, i.e. two orchestras each. At this time, the main genre of military music - the march (ceremonial, marching) - was widely developed, which was heard at parades, reviews, campaigns, etc.

In the 18th century musical instruments become 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 musical instruments in the 18th century. firmly established in the practice of rewarding those who distinguished themselves in combat operations

""Military music choirs" of the army and navy.

That's what they were called in the XVIII 14

XIX centuries Russian military bands

regiments, which can be considered as a manifestation of the musical culture of the Russian army and navy.

During the 1st half of the 19th century V. In the military bands of the Russian army, a number of important events were carried out, covering various aspects of their life: staffing, instrumental compositions, the leadership system in guard bands, and training of musicians. These events consistently improved the state of the musical culture of the Army and Navy, the number of which, due to participation in hostilities, was 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 capabilities.

This period includes the holding of the first so-called “disabled” concerts by military bands, which were dedicated to the heroes Patriotic War 1812 and were held 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 19th century. The soldier's and sailor's song received further development. The victory in the Patriotic War of 1812, as well as the Hungarian campaign of 1849, gave rise to many soldiers' folk songs, glorifying the exploits of their ordinary soldiers and their commanders. The first printed editions of texts and notes 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 significantly improved, new instrumental compositions 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 20th century. All the prerequisites have been created for the formation and subsequent development of military musical culture in Russia.

1 A new modification of brass instruments, in which a 3-valve mechanism was included, which enriched their performing and artistic capabilities.

The specifics of military musical culture are historically formed on the basis of its two defining components:

a) musical creativity in all its instrumental and vocal manifestations, organically included in military musical culture, determining its professional support (highly professional composers, performers, orchestras and ensembles who have received recognition and high praise not only in Russia but also abroad;

b) service and combat activities in all its forms and social manifestations, which determine the specifics of military musical culture associated with the activities of the Armed Forces, determined by charters and regulations, as well as cultural life (concert and theatrical activities).

The universal nature of military musical culture makes it possible to identify a number of social functions inherent in it, among which the most important are the following: ritual-organizational, organizational-mobilizing, ceremonial-demonstrative, national-patriotic, educational-educational, concert-theater.

In the second chapter, “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 requires highly qualified subjects and professional personnel. 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 bright and multifaceted during the Soviet period national history. Modern Russian society continues established traditions.

To lead the Red Army orchestra, a new type of bandmaster was needed, a highly qualified musician with special training, organizational skills and teaching talent.

It was necessary to establish new forms of professional military music education as soon as possible.

In 1919, “Regulations and staff on short-term courses for music instructors for the Red Army at the Educational Department of the PUR” were developed1 in order to train specialists in the following specialties: choral singing instructor, organizer of demonstrative musical conversations, instructor in folk musical instruments, instructor in brass orchestras, conductor (regent) of choral singing. At the same time, commanders of military units sent Red Army soldiers with good musical abilities to undergo tests for admission to conservatories or music schools of the People's Commissariat of Millet.2

In 1920, organizational work on the training of military musicians received further development in Petrograd. Order No. 689 of May 8/9, 1920 for the Petrograd Military District ordered: “The inspector of military bands must immediately begin the formation of military-musical air defense courses at the Political Education Directorate, in accordance with the provisions attached to this Regulation and the Provisional States, which will be put into effect from 1 May 1920.”3 In addition to training musicians for military bands, the courses included for the first time 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 “Regulations and Regulations of the Petrograd and Tashkent military music schools of the Red Army.”4

In 1921, to train musicians of naval military bands at the Central Fleet Crew in Petrograd, the Music School of the Training Detachment of the Baltic Sea Naval Forces was created, the 5 staff of which determined the maintenance 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 Fleet Order No. 181 dated December 9, 1921 // 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. Alexandrov 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 bandmaster class was renamed the Military Bandmaster Department of the Conservatory's performing faculty,1 which in 1932, as a result of organizational measures carried out by the Moscow Conservatory,2 received the status of a military bandmaster department. In connection with these changes, the duration of study was increased to three years, and the number of students was increased to 45 people.

In order to more effectively train leaders of military bands, in 1932 a bandmaster class was formed at the M.V. Frunze Military Academy,3 with a three-year training period.

The formation of a unified faculty for the training of military bandmasters was entrusted to the inspector of military bands of the Red Army S.A. Chernetsky and the 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 on January 1.”4

Along with the training of military band leaders, centralized training of musicians for army bands was resumed in the mid-thirties. On the initiative of S.A. Chernetsky, non-staff musical institutions were created at this time in Moscow, Voronezh, Saratov and Yelets.5 They mainly taught

1 Soviet military music. - M., 1977. - P. 215.

2 On the abolition of faculties and departments and the establishment of departments: Order for Higher School of Music dated September 2, 1931 // Moscow Conservatory 1866-1966. - M., 1966. - P. 488.

3 Order to the headquarters of the M.V. Frunze Military Academy dated 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 USSR NGO of November 28, 1935. No. 183. //RGVA, f. 4, op. 15a, 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 of public education in Moscow and Leningrad, regular schools for military musicians were opened,1 which made it possible to partially staff military orchestras with qualified musicians. Subsequently, in the pre-war period, 13 more full-time schools for military music students were formed in various military districts.2

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 Detachment of the Baltic Sea Naval Forces.

The training of military bandmasters specifically for the fleet began in October 1938, when, during the transition of the Military Faculty of the Moscow Conservatory to a new staff, seven students were recruited for the Naval Department, and in 1940 the Naval Faculty was formed at the Leningrad Conservatory .

Summing up the development of professional military music education, we can draw the following conclusions:

Firstly, 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 a secondary special education, as well as the Military faculties of the Moscow and Leningrad Conservatories, which trained specialists with higher education to fill the positions of military bandmasters;

Secondly, regulations, rules for admission and learning programs these educational institutions, which made it possible to train specialists who meet uniform qualification requirements;

Thirdly, all 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 NGOs of the USSR and NK Education of the RSFSR dated January 23, 1937. No. 7. // RGVA, f. 4, op. 15a, d.444, l. 13.

2 See: Soviet military music. - P. 33.

Fourthly, when creating these educational institutions, positive experience in this area of pre-revolutionary Russia was used;

Fifthly, the system of professional training 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 practical military musical activity, taking into account its multifaceted functions.

When considering the social functions of military musical culture, its dual meaning, which is expressed in its applied nature, is repeatedly emphasized. Hence, there are two forms of its functioning: servicing a variety of military service activities and mass concert activities, which demonstrated the high professional level of military bands and ensembles.

Military music has found wide application both in drill training of troops and in the system of moral, combat and cultural educational training of soldiers of the army and navy. One of its main tasks was the musical arrangement of various military celebrations and rituals, many of which, by tradition, came from the old Russian army and navy.1

Unlike all other types of orchestral performance, the playing of a military orchestra in formation during military rituals is a completely special type of performing art. It is based on original, specific features that have been formed over centuries. When playing in formation, 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 participants of which must clearly and consistently perform the necessary set of drill techniques. The complete combination of musical performance and drill skills constitutes one of the most characteristic

1 See: Surin N.K. On the history of Russian military rituals and their musical design 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.-S. 291.

features of the specificity 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 of performing a piece not only in place, but also in motion, and from memory, the ability to ensure the orchestra plays in any weather and in different acoustic conditions. Thus, the musical arrangement of rituals requires not only creative, but also military training of musicians, and 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, raising the guards, dawn, meeting of commanders, etc.), new rituals appeared (the ceremonial opening of monuments, laying wreaths to those killed in battles, 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 the external forms of their conduct (formation of troops, meeting the host of the parade, detour and congratulations of participants, solemn march). However, significant changes have occurred in their musical design.

A new means of organizing musical accompaniment for Red Army parades was the creation of combined military orchestras 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 march was enriched by Soviet mass and folk songs. The musical design of other military rituals also changed. So, the pre-revolutionary music of “Dawn” was replaced by a new one, composed by S.A. Chernetsky in 1927, “Red Dawn”.1 By the 30s. The appearance of new music relates to the ritual of changing the guards.

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 giving of drill signals acquired particular importance in cavalry units, since horse formations, usually dismembered, required special means for issuing commands over long distances.

An important role in the professional activities of military bands was played not only by service activities, but also by concert and educational activities. From mid-1919, the political department of the Revvoensovbalt, 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 visible: quite frequent performances in front of the city public by combined brass bands. At the same time, orchestras of units and military educational institutions were involved in work on the radio, recording records and music for films. Active work in this direction was carried out by the orchestra under the direction of V.I. Agapkin, who performed in the 30s. Not only marches, dance music and arrangements of popular melodies of that time were recorded, but also many compositions by the famous leader of this group.

Of great importance for intensifying concert activities and improving the performing skills of orchestras in the 20-30s. XX century had competitions held both in each military district and on an army-wide scale. Subsequently, such competitions became traditional.

The concert activities of the Red Army Song and Dance Ensemble named after M.V. Frunze (later the Red Banner Red Army Song and Dance Ensemble of the USSR), which began in the late 20s, had a special influence on the development of the military musical culture of Russia. For their first performances, the group chose a new genre of literary and musical montage, combining musical, choral, literary and dance principles.

Based on the above material, some conclusions can be drawn:

Firstly, 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 to support them has undergone significant changes;

Thirdly, the concert practice of musical groups of the Red Army and Navy was enriched with new forms: concert-meeting, musical and literary montage, thematic concert, etc. In addition, against the backdrop of the rapid development of science and technology, new types of concert activities emerged, designed for mass audiences;

Fourthly, the development of service, combat and concert activities of military bands took place with the direct participation and full assistance of prominent military leaders, as well as thanks to the active work of the country's leading musical and public figures. This allowed military orchestras 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 the promotion of musical culture among the general population of the country.

The fourth chapter, “Development of amateur musical performances in the army,” examines the main forms of functioning of military musical culture in the mass consciousness and behavior of society.

Like any type of social activity, artistic activity, in particular musical activity, has historically found its ally in amateur performances. For example, professional sports activities are based on mass physical education classes; professional medical activities relates not only to traditional medicine, but also with in different forms self-medication;

The management activities of the society are interested in the development of all types of self-government, especially local, etc. As for amateur performances, they have long received massive development in our country in different types arts: music, painting, theater, choreography, poetry, photography, etc. Military musical culture, in turn, finds an ally in military musical amateur performances.

Along with the active work of professional musical groups, it became widespread in the army in the 20-30s. XX century received all kinds of forms of amateur creativity. This was due to a number of circumstances:

Firstly, the accessibility of amateur genres to the broad masses, who, as a rule, do not have special musical training;

Secondly, the acute shortage of professional military musical groups in the first years of Soviet military development, as well as the desire of the broad masses for creative self-expression in the field of art;

Thirdly, the fact that such types of amateur creativity as choral singing, dancing and many others did not require special material costs;

Fourthly, the development of general directions of cultural construction in the country, which contributed to the fact that the Red Army became “... the first musical preparatory institution for the masses.”1

The combat and peaceful life of the Russian army has long been closely connected with the military 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 compositions spontaneously arose in its units. There is an urgent need to unite spontaneously emerging song groups into choir 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 mass leaders

1 RGALI. F. 1943. OP. 1. D. 215. L. 41.

professional and amateur choirs, preparation of repertoire and a set of other activities aimed at improving choral affairs in units of the Red Army.

In the first years of the existence of the Red Army, along with the songs of the revolutionary underground (“Varashavyanka”, “La Marseillaise”, “Boldly, comrades, in step ...”), ancient soldier and city songs, which were widespread in the Russian army, became widespread.

Almost simultaneously with the updating of old melodies and the creation of amateur songs, the first works created by professional composers and writers began to appear in units of the Red Army.

The creative activity of the Red Banner Red Army Song and Dance Ensemble of the USSR and its leader A.V. Alexandrov played a huge role in the process of development and propaganda of military songs. The repertoire of this group included both numerous adaptations of popular folk melodies and modern soldier folklore.

The leading role in improving development directions and providing methodological assistance to amateur groups of the Red Army and Navy belonged to bandmasters and musicians of military bands. A common occurrence was the emergence of amateur jazz and pop groups, as well as amateur symphony orchestras, on the basis of regular orchestras under the leadership of military bandmasters.

Attaching great importance to art in solving issues of political agitation and propaganda among the broad masses, the Political Directorate of the Red Army carried out a great deal of work to create and implement new, mass genres intended for an audience of thousands. As a result, in the 20s. Mass dramatizations and literary and musical compositions, which were synthetic genres that combined such types of art as literature, theater, dance and music, became widespread.

The development of amateur army performances was facilitated by Olympics and review competitions, which gained great popularity in the 30s. in various districts. The main objectives of their implementation were: checking the condition

amateur performances, the effectiveness of its various forms in each military educational institution, unit and division of the Red Army, as well as the involvement of the broad masses of Red Army soldiers, Red Navy men, command personnel and members of their families in the events.

Thus, based on the presented material, the following conclusions can be drawn:

Firstly, in the 20-30s. XX century In military musical culture, the main types and directions of development of amateur creativity were formed. Its mass forms predominated;

Secondly, thanks to amateur Red Army creativity and the involvement of professional composers and poets in the army environment, the military song was further developed, 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 instructor courses in various districts and involving the country's advanced musical community in club work, it was possible to provide amateur groups with leaders. In addition, bandmasters 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 musical culture, active processes of rapprochement and interaction between professional and amateur creativity were observed, due to which new genres appeared that became widespread not only in the army environment, but also in society as a whole.

In 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 military musical culture in 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 had and continues to have a significant influence on the development of musical life throughout the country.

Service and creative activities of A.V. Alexandrov, S.A. Chernetsky, V.I. Agapkin and other musicians, organization throughout the country of musical and educational, charity concerts and tour performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army groups, the development of military songs - 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 entire country.

Firstly, military musical culture is an integral part of the musical culture of the entire country as a whole, which has general and particular specific features;

Secondly, military musical culture has its own rich history of origin, formation and development. It is important to note that it evolved and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over several centuries;

Thirdly, the bearers of military musical culture are all personnel of the army and navy, regardless of their service affiliation.

Fourthly, military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which was continuity.

Fifthly, analysis of the development of military musical culture helps to clarify its place and role in various areas military activities. The results of the study indicate that music, since the founding of the first regular regiments of the Russian army, gradually became one of the important integral elements of the patriotic, moral and cultural education of soldiers.

The conducted research allows us to draw certain lessons from the historical experience of the development of military musical culture. Their essence boils down to the following.

1. The development of military musical culture is directly related to the economic, political and cultural development of the state.

2. The flourishing of military musical culture is possible only when the state treats its army with respect, 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 officers and soldiers 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 musical culture, it is necessary to have a well-organized system for training and staffing military conductors and musicians in the armed forces.

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 as technical means propaganda (records, video cassettes, CDs with recordings of classical, military and modern music), and musical instruments, publications of music collections of military songs, marches, popular domestic music magazines.

The relevance of the topic of the dissertation research, the growing interest in it among culturologists, historians and musicologists also allows us to formulate some theoretical and practical recommendations:

Firstly, it would be of great benefit to unite the efforts of cultural scientists, historians and musicologists in the study of various aspects of the development of military musical culture from the birth of the regular army to the present time;

Secondly, it is advisable to use the dissertation research materials in officer training courses at the Military University and the Military Institute of Military Conductors.

Thirdly, based on new data on the development of military musical culture, it is necessary to clarify the content of reference military and musical publications.

1. Mayakin, T.K. Formation and development of amateur musical 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). - P. 62-67.

Other publications:

2. Mayakin, T.K. On the issue of the formation and development of professional military music education in Russia (1918-1941) / T. K. Mayakin // Formation and development of military conductor education in Russia: materials from scientific-theoretical. conf. / Military dir. Fak at MGC. - M., 2001. - P. 28-41.

3. Mayakin, T.K. Formation and development of military conductor education of the Red Army and Navy (1918-1941): tutorial/ T. K. Mayakin; Military dir. Fak at MGC. -M., 2002.-30 p.

4. Mayakin, T.K. 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 MGC. - M., 2004. -S. 60-87.

5. Mayakin, T.K. Military orchestras of the Red Army and Navy / T.K. Mayakin // Military music of Russia. History and modernity. - M., Military Publishing House, 2007. - P. 93-114.

6. Mayakin, T.K. Organization of choral singing in units and formations of the Red Army and Navy in 1918-1941. / T. K. Mayakin // Collection of scientific articles by adjuncts and applicants / Military. institute, military conductor - M., 2009. - P. 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. Cond.bake.l. 1.5 Circulation 100 copies. Order No. 39/

Nizhny Novgorod State University of Architecture and Civil Engineering 603950 N.Novgorod, Ilyinskaya, 65 Polygraph Center NNGASU, 603950 N.Novgorod, Ilyinskaya, 65

Chapter 1. Specifics and social functions of Russian military musical culture.

Chapter 2. Formation and development of professional music education in Russia.

Chapter 3. Service and concert activities of military bands and ensembles.

Chapter 4. Development of amateur musical performances in the army environment.

Introduction of the dissertation 2010, abstract on cultural studies, Mayakin, Timofey Konstantinovich

Relevance of the research topic. The specifics, structure and functions of Russian military musical culture largely determine the relevance of its research due to the following circumstances.

Firstly, the emergence of cultural studies as a comprehensive science of culture, with all the diversity in the definition of the concept of “culture,” has revealed at least three sets of problems that today determine its structure: 1) theory of culture, 2) cultural history, 3) applied cultural studies . Military musical culture is related to the problems of applied cultural studies, as are religious, moral, physical, environmental, political and legal culture. Classifying military musical culture as one of the types of cultural studies involves studying its specificity, originality and features.

Secondly, studying the specifics of military musical culture requires research into its social necessity, structure, forms of manifestation and the social functions that it performs. Analysis of these aspects is clearly insufficient in modern cultural literature.

Fourthly, many years of historical experience in the development of Russian statehood have shown that the army is not only an armed force, but also a spiritual one. It 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, it is relevant to study military musical culture from the point of view of its psychological, national-patriotic role in the education of personnel of the Armed Forces of our country.

The degree of scientific development of the problem. It is unfortunate to note that the level of scientific elaboration of the problem of the development of military musical culture in Russia is very weak and research is fragmentary. Considering the problem from a class angle did not always contribute to its holistic study. There are no works that directly pose the question, and only the study of many sources makes it possible to conduct such a study and highlight individual aspects, problems, and fragments.

All works, which to varying degrees reflect the problem of the development of military musical culture, can be divided into several groups.

The first includes the works of Russian culturologists of a general methodological nature, which to one degree or another touch upon the problems of musical culture in theoretical terms1.

The second group is represented by complex works of domestic art historians on the history of music and musical culture of Russia2. In them, the problem of the development of military musical culture is considered in a general form, in connection with issues of cultural construction of the state. As a rule, all these works provide a fairly detailed excursion into the history of musical life.

1 See: Arnoldov A.I. Man and the world of culture. - M., 1992; Vintshchkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. . Ph.D. Philosopher Sci. - M., 1984: Vygotsky U.C., Luria A.R. Categories and concepts of cultural theory. - M., 1985; Dorogova JI.H. Artistic culture and the formation of a warrior’s personality: dis. . Doctor of Philosophy Sci. - 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, coverage of issues related to the development of military musical 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. Alexandrov."

These works are of great scientific value and are important, constituting the source base for the research. At the same time, an analysis of the presented monographs, articles, and dissertation research shows that military musical culture was not the subject of independent research, and the problem of its development did not receive sufficiently comprehensive, generalizing coverage.

A separate group of sources consists of documents widely represented in the historical archives of Russia3; this should also include legislative documents and acts published in different years (decrees, orders, directives, charters, instructions), indirectly affecting the problem of the development of military musical culture and which made it possible to significantly supplement the source research base4.

1 See: Aksenov E.S. 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; Tutunov V.I. 250 years of the Military Band Service in Russia. - M., 1961, etc.

2 See: Alexandrov B.A. The song is calling. - M., 1982; Korosshelev B.E. Art born of the people. - M., 1991; Pozhndaev G.A. Red Banner Ensemble: the path of song and glory. - M., 1988; Shilov A.B. Unknown authors of famous songs. - M., 1961, etc.

3 In the Russian State Military Archive (RGVA), the Russian State Archive of the Navy (RGA VMF), the Russian State Archive of Literature and Art (RGALI).

4 See: Combat cavalry regulations of the Red Army. - Pg., 1920. - Parts 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 consists of memories, memoirs, diaries of prominent figures and cultural workers, which provide a subjective assessment of military music, musical culture in general, and its role in the moral and psychological education of soldiers1.

A separate type of material under study is represented by collections of military songs, marches, concert works for military bands and amateur groups.

The subject of the study is the military musical culture of Russia. Considering that this subject is quite multifaceted, we highlight those aspects of analysis that constitute the object of study: the historical formation of military musical culture, its specifics, the main social functions and forms of manifestation, the structure of training military musicians and conductors.

Purpose and objectives of the study. The main goal of the study is a historical and cultural analysis of the specifics, structure and functions of military musical activity.

The goal necessitated the study of a number of specific tasks that determined the content of the work:

Identification of social needs in military musical culture;

Analysis of the specifics of military musical culture as a special type of applied culture of society;

Study of the main social functions of military musical culture with the definition of their features and meanings;

Study of the structure and features of military music education and training of relevant personnel;

1 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.

Analysis of the main forms of organization and manifestation of military musical activity.

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 patterns of formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form - military musical activity. Analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.

Scientific novelty of the research. The work explores problems that may be of scientific value for cultural studies (theory and history of culture):

Firstly, the specifics of military musical culture as a special type of applied culture have been clarified;

Secondly, the social determination of military music is shown by changes of a socio-political nature in the country;

Thirdly, a system of social functions of military musical culture in public life has been identified;

Fourthly, genres, forms of manifestation and types of military musical activity have been studied;

Fifthly, the features and structure of military music education at the stage of its formation and subsequent formation are analyzed;

Sixthly, the trends and prospects for the development of military-musical amateur performances are considered.

Provisions for defense:

1. The specifics of the military musical culture of Russia, presented as a unique type of applied culture of society, are determined not only general principles musical creativity, but also the features of its application and use in military service.

2. The specificity of the applied nature of military music culture is determined by the peculiarities 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 peaceful and combat conditions of society.

4. An analysis of the real existence of military musical culture in the system of society reveals its main social functions: ritual-organizational, organizational-mobilizing, ceremonial-demonstrative, national-patriotic, educational-educational, concert-theater.

5. The military musical culture of Russia, as a universal and multifaceted phenomenon, influences the mass consciousness of society.

Theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a more in-depth understanding of the problems of applied cultural studies, developing within the boundaries of general theory and cultural history. This is evidenced by similar studies of design culture, behavior culture, speech culture, religious culture, etc.

We see the practical significance of the study in the possibility of pedagogical use of these materials not only in the system of military music education, but also in organizing more effective practical military music activities.

The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.

Structure of the dissertation. The dissertation includes an Introduction, 4 chapters, a Conclusion and a Bibliography.

Conclusion of scientific work dissertation on the topic "Military musical culture of Russia"

Conclusion

The historical experience of the development of military musical culture in Russia shows that music is becoming not only an important factor in the patriotic and moral education of soldiers, but is 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 musical life throughout the country.

Service and creative activities of A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin, L.A. Petkevich and many other bandmasters; organization throughout the country of musical and educational, charitable concerts and tour performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army groups, the development of military songs, which were widely used not only in the military environment, but also beyond its borders, - these and other facts confirm the author’s opinion about the significant influence of representatives of the Army and Navy on the development of musical life throughout the country.

Thus, the analysis of the development of military musical culture allows us to make some generalizations and conclusions, the essence of which boils down to the following:

Firstly, 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, mode-harmonic tonalities, musical instruments, etc., and its own individual , specific features.

Thirdly, as the results of the study show, all personnel of the Armed Forces, regardless of their service affiliation, become its carriers (in pre-revolutionary Russia, the main carriers of musical culture in the army and navy were officers).

Fourthly, military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which is continuity.

Fifthly, analysis of the development of military musical culture helps to clarify its place and role in various areas of military activity. The results of the study indicate that music, since the founding of the first regular regiments of the Russian army, has gradually become one of the important integral elements of the patriotic, moral and cultural education of soldiers.

First lesson. The accumulated experience indicates that the development of military musical culture is directly related to the economic, political and cultural development of the state.

Lesson two. The rapid flourishing of military musical culture is possible only when the state treats its army with respect, 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 officers and soldiers 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 in order to ensure the successful development of military musical culture, it is necessary to have a well-organized system of training and staffing military conductors, musicians, and cultural and educational workers in the Armed Forces.

In addition, for more effective activities of these specially trained military personnel in the field of musical education of soldiers, it is also necessary to have a well-established 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 , publications of music collections of military songs, marches, popular domestic music magazines.

The relevance of the topic of the dissertation research, the increasing interest in it among cultural scientists, historians and musicologists also allow us to formulate some theoretical and practical recommendations.

Work on the dissertation made it possible to identify a range of problems that could become the subject of further independent scientific research. These include: “The development of military rituals in Armed Forces", "Organization of musical leisure for military personnel", etc.

Secondly, it is necessary to publish Toolkit on the history of the development of military musical 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.

Thirdly, on the basis of new data on the development of military musical culture, it is necessary to clarify the content of reference military and musical publications, as well as to supplement the definition of “military musical 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 soldiers of the modern Armed Forces of the Russian Federation, there is a need to supplement the sections of the program of the course of lectures at the Department of Culture and Art of the Military University, dedicated to the artistic culture of military personnel, and in the future use the accumulated material in the course of lectures on the public and state training program.

Fifthly, it would be advisable to return many ancient marches and military songs to the army and navy, for this purpose publishing several new military collections of songs and marches for various branches of the Armed Forces of the Russian Federation. Introducing them into everyday life Russian troops will significantly enrich not only the service and combat repertoire of modern orchestras, but also expand the song repertoire of soldiers' amateur groups.

List of scientific literature Mayakin, Timofey Konstantinovich, dissertation on the topic "Theory and history of culture"

1. Adamyan A. Articles about art. M.: Muzizdat, 1961. - 432 p.

2. Aksenov E.S. New in the instrumentation of the Soviet military march. // To help the military conductor. M., 1970. - Issue. X. - 132 p.

3. Alabin P.V. Four wars. Hiking notes. - M., 1B92. Part 3.- 788 p.

4. Alexandrov A.B. The song is calling. M.: Young Guard, 1982. - 160 p.

5. Alphabetical and subject index of unclassified orders of the Revolutionary Military Council of the Republic. Pg. ; Leningrad: Military printing house of the Red Army Headquarters, 1920 - 1934.

6. Album of visual aids for the course of culture and art / ed. N.A. Kostikova. M.: VPA, 1988. - 44 p.

7. Ananyev Yu.V. Culture as an integrator of society. N. Novgorod: NNGASU, 1996. - 174 p.

8. An annotated collection of dissertations defended in specialized councils of the Military-Political Academy named after. V.I. Lenin in 1988 1990 // Comp. N.V. Ratoziy, V.I. Yudin. - M.: VPA, 1989 1991. - 58 p.

9. Song and Dance Ensemble of the Red Banner Far Eastern Military District. Khabarovsk, 1999. - 30 p.

10. Ancient musical aesthetics. M., 1960. - 304 p.

11. Anthology of cultural studies. St. Petersburg, 2006. - 720 p.

12. Antoshin A.M. Military reform 1924 1928 : dis. . Ph.D. legal Sci. - M., 1949. - 328 p.

13. Arnoldov A.I. Introduction to cultural studies: textbook. - M., 1993. -319 pp.

14. Arnoldov A.I. Man and the world of culture. - M.: Publishing House IPCC, 1989.-240 p.

15. Artanovsky S.N. Some problems of the theory of culture. JL: Leningrad State University, 1977. - 82 p.

16. Asafiev B.V. About the music of the 20th century. L.: Music, 1982. - 200 p.

17. Asafiev B.V. Opera // Essays on Soviet musical creativity. M., 1947. - 318 p.

18. AshevG.A. Military rituals. M.: VPA, 1977. - 127 p.

19. Ashev G.A. Culture of military activity. M.: VPA, 1984.- 44 p.

20. Babenko P.I. E. Yakir (Essay on the combat path). M., 1963. - 80 p.

21. Balakshin A.S. Cultural policy: theory and research methodology. N. Novgorod: VGAVT, 2004. - 248 p.

22. Baller E.A. Continuity in the development of culture. M.: Nauka, 1969.-294 p.

23. The Baltic is our gray sea. - M., 1996. - 60 p.

24. Barketova T.A. Power and development of musical culture in Soviet Russia: (1917 1932) : dis. . Ph.D. ist. Sci. - Saratov, 1999. - 243 p.

25. Basov Verkhoyantsev. Song // Red Army Man. - 1921. - No. 48.

26. Bezymensky A. How the song was born // Smena. 1948. - No. 20.

27. Bergman S. Why do we need circles? // Military knowledge. 1921.- No. 6-7.

28. Berkov V. Harmony and musical form. M., 1962. - 566 p.

29. Berkhin I.B. Military reform in the USSR (1924 1925). - M.: Military Publishing House, 1958. - 560 p.

30. Beskrovny L.G. Reader in Russian military history. - M.: Voenizdat, 1947. 640 p.

31. Biryukov Yu.V. The place and role of song in the heroic-patriotic education of Soviet soldiers. M.: VPA, 1981. - 48 p.

32. Biryukov Yu.V. Songs born of revolution. M., 1987.- 147 p.

33. Bogdanov L.P. Russian army at the end of the 18th century quarter of the XIX century: author's abstract. diss. doc. history Sci. - M., 1981. - 54 p.

34. Bogdanova A.B. Musical culture in the Soviet political system 1950-1980s. (Historical and cultural aspect of research): dis. . doc. cultural Sci. - M., 1999. - 314 p.

35. Bogdanov-Berezovsky V. Articles about music. L., 1960. - 233 p.

36. Bogolyubova E.V. Culture and society: (Questions of history and theory). M.: MSU, 1978. - 231 p.

37. Big Soviet encyclopedia: in 30 volumes. 3rd ed. processing, and additional - M.: Soviet Encyclopedia, 1970 - 1981.

38. Braudo E.M. History of music. M., 1935.- 461 p.

39. Bronin Ya.G. Lenin and the Red Army. M., 1925. - 54 p.

40. Bronfin E.F. Musical culture of Petrograd during the first post-revolutionary five-year period 1917-1922. L.: Soviet composer, 1984. - 216 p.

41. Bronfin F.M. About the music studios of Petromorbaza // Red Baltic Fleet. 1920. September 30.

42. Bublik L. A. V. I. Lenin and the Soviet Armed Forces. M.: Voenizdat, 1970. - 152 p.

43. Budyonny S.M. Distance traveled. M., 1958. - 448 p.

44. Busoni F. Sketch of a new aesthetics of musical art. - St. Petersburg. : A. Diedrichs, 1912. 55 p.

45. Vasilevsky A.M. Life's work. M., 1978. - 552 p.

46. Vertkoe K.A. Russian horn music. M., 1948. - 84 p.

47. Verkhovsky A. About amateur performances in the army // Military Bulletin. - 1921. - No. 2-3.

48. Veselago F.F. Short story Russian fleet. M., 1939.- 301 p.

49. Vinnitskovsky M.G. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. . Ph.D. fi-los. Sci. M., 1984. - 169 p.

50. Vinokurov A. On the organization of political, cultural and educational work at competitive courses // Military knowledge. - 1921.- No. 4.

51. Viskovatov A.B. Historical description of clothing and weapons of Russian troops: in 30 volumes. St. Petersburg, 1841-1862.

52. Military music of Russia. Guards Regimental Marches: collection / comp. A.I. Veselova. St. Petersburg, 2006. - 224 p.

53. Military music of Russia. History and modernity. - M.: Voenizdat, 2007. 248 p.

54. Military reform: history and prospects: collection / comp. Kh.V.Delmaev. M., 1991. - 150 p.

55. Military conducting faculty 1935-1995. M., 1995. - 168 p.

56. Military reforms and transformations in the history of the USSR: textbook. Vinokurov A.B., Gavrishchuk V.V., Klimchuk E.A., Saksonov O.V. and others. M.: VPA, 1991. - 48 p.

57. Military collection. St. Petersburg, 1858 - 1917.

58. Military encyclopedic dictionary / ed. N.V. Ogarkova. - M.: Voenizdat, 1983. 863 p.

59. Military encyclopedic dictionary. 2nd ed., rev. and additional M.: Voenizdat, 1986. - 1356 p.

60. Volkov S.B. Russian officer corps. M,: Military Publishing House, 1993.- 368 p.

61. Volkova E.L. Song creativity of A.V.Alexandrov. // 70 years of Soviet music. Main trends in the development of musical genres. M., 1988. - 198 p.

62. Volotovsky A.A. The role of progressive traditions of officers of the Russian Army in the education of modern personnel: dis. . Ph.D. Philosopher Sci. M.: GA VS, 1993. - 171 p.

63. Issues of club work // Politvestnik. M., 1921. - No. 4.

64. Voskoboyyakov V. The club and its role in the system of education of red commanders // Military knowledge. 1922. - No. 5.

65. Memories of the Moscow Conservatory. - M.: Music, 1966. 608 p.

66. Temporary regulations on the order of military celebrations. JI. : Military Bulletin, 1928. - 44 p.

67. Vsevolzhsky I.E. Prisoners of the sea. M., 1961. - 663 p.

68. Vygotsky JI.C. Psychology of art. - M.: Art, 1965. -379 p.

69. Vygotsky L.S., Luria A.R. Categories and concepts of cultural theory. M., 1985. - 247 p.

70. Gavronsky A. About the work of circles in university clubs // Military knowledge. 1921. -№> 2-3.

71. Gamza I. Approach to Red Army creativity. // Red Army seal. 1921. - No. 4.

72. Garbazey I.N. Military musical art in the genre system of mass performances: dissertation. . Ph.D. Art critic. - M., 2005.-278 p.

73. Garbar V.I., Sryvkov Yu.I. Education of warriors through the art of music. M.: VPA, 1988. - 47 p.

74. Georgiev G. Handbook to the regulations of the Workers' and Peasants' Red Army. Smolensk, 1921. - 54 p.

75. Glan, B.N. Mass celebrations and spectacles. M.: Art, 1961.-273 p.

76. Goldenshtein M.L. Music in the life of V.I. Lenin. JI. : Soviet composer, 1959. - 60 p.

77. Gorodetsky S. Red Army creativity // Red Army Man. - 1921. - No. 45.

78. Grinberg M.I. Attention to musical work in the Red Army. // Music and revolution. 1928. - No. 2.

79. Grinkevich V. Counter march for the leader // Guardian of the Baltic. - 1972. No. 24.

80. Grshiin N.A. How Poltava was taken // Red Warrior. 1919.- No. 22.

81. Gulevich S. History of the Life Guards of the Finnish Regiment: in 3 volumes - St. Petersburg, 1906.

82. Gusev S. Political education work in the Red Army. // Political education worker. 1921. - No. 13.

83. Danilevich L.V. A book about Soviet music. M., 1962. - 444 p.

84. Danilevsky I.N. Questions of theory and methodology of historical research. M.: Knowledge, 1987. - 230 p.

85. Danilov V.D. Construction of central military control bodies in the USSR (1921-1928): diss. . Ph.D. ist. Sci. -M., 1971. - 255 p.

86. Danin T. On the issue of university clubs. // Military knowledge. 1922.- No. 7.

88. Diev B.A. Musical accompaniment of Soviet Army parades. // Proceedings of the Institute of Military Conductors. M., 1956. - Issue. III.- 146 p.

89. Dobrokhotov A.L., Kalinshen A.T. Culturology. M.: Forum, 2010. - 480 p.

90. Dogel I.M. The influence of music on humans and animals. Kazan, 1888. - 141 p.

91. Dorogova JI.H. Artistic culture and the formation of a warrior’s personality: dis. . doc. Philosopher Sci. M.: VPA, 1990. - 362 p.

92. Dorogova L.N. Art culture. Concepts, terms. - M.: Knowledge, 1978. 205 p.

93. Dotsenko V.D. Marine Biographical Dictionary // ed. I.V. Kasatonov. St. Petersburg : Logos, 1995. - 494 p.

94. Dunaevsky L.S. Culture as a factor in the formation of military discipline: (Methodological analysis): dis. . Ph.D. Philosopher Sci. M.: VPA, 1986. - 177 p.

95. Zhdanov Yu.A. The essence of culture. Rostov N/D, 1979.- 175 p.

96. Zaripov R.Kh. About programming the process of composing music. // Problems of cybernetics. M.: Fizmatgiz, 1962. - Issue. 7. - pp. 151-160.

97. Green L.A. The process of aesthetic reflection. M.: Art, 1969. - 175 p.

98. Green L.A. Typology of subjects of aesthetic activity. - Gorky: GISI, 1972.

99. Zelenoe L.A., Balakshin A.S., Vladimirov A.A. Systemic-typological analysis of culture. N. Novgorod: VGAVT, 2009.

100. Ivanov V.V. Methodological foundations of historical knowledge. -Kazan, 1991. 120 p.

101. Ivanov G.M., Korshunov A.M., Petrov Yu.V. Methodological problems of historical knowledge. - M.: Higher School, 1981. -296 p.105. Ivanov-Boreg (kt1 M.B. Primitive musical art -M.5 1929.-28 p.

102. Ignatiev A.A. Fifty years in service: in 2 volumes - M.: GIHL, 1950 T. 1. 592 p.

103. From the past of Soviet musical culture. - M.: Music, 1975 1976. - Issue. 12.

104. News of the Petrograd Council of Workers' and Peasants' Deputies. Pg. - 1921. - No. 14.

105. Instructions for choir circles // Politvestnik. 1921. - No. 4.

106. Ionia L.G. Sociology of culture. M.: Logos, 1998. - 280 p.

107. Ippolitov-Ivanov M.M. School of Musical Culture. // Soviet art. - 1933. - No. 39.

108. Historical science. Questions of methodology / ed. L.S. Gaponenko. M.: Education, 1986. - 67 p.

109. History of the music of the peoples of the USSR: in 5 volumes. M.: Music, 1970 -1974.

110. History of Russian Soviet music. - M.: Muzyka, 1956 1963. T. 1-4.115. Kagan M.S. Lectures on Marxist-Lininist aesthetics. L.:

111. Leningrad State University, 1971.- 766 p. Ib. Kalinkovich G.M. N.A. Rimsky-Korsakov inspector of military music choirs of the naval department. M., 1952. - 96 p. Ill .Kamenev A.I. History of officer training in Russia. -M. : VPA, 1990. - 185 p.

112. Kara-Murza S.G. Manipulation of public consciousness. M.: Nauka, 2000.

113. Karelyuk A.A. Military issues in the course of the history of the USSR: a textbook. - M.: Military Publishing House, 1986.

114. Catalog of candidate and doctoral dissertations received by the Library. V.I. Lenin and the State Central Scientific Medical Library for the period 1956-1990. - M., 1956 - 1990.-215 p.

115. Kayak A.B. Methodological problems of analyzing the interaction of musical cultures (cultural aspect): dis. . Ph.D. Philosopher Sci. - M., 1998. - 153 p.

116. Kelle V.Zh., Kovalzon M.Ya. Theory and history (problems of theory and historical process). M.: Politizdat, 1981. - 288 p.

117. Kersnovsky A.A. History of the Russian Army: in 4 volumes. M.: Golos Publishing House, 1992 - 1994.

118. Klyatskin S.M. Construction of the Armed Forces of the Soviet State (experience of organizing a permanent regular army and police construction in 1917-1920): dis. . doc. ist. Sci. - M., 1964.

119. Kovalchenko N.D. Methods of historical research. M.: Nauka, 1987. - 438 p.

120. Kozhevnikov B.T., Khakhanyan Kh.M. Materials on the history of Russian military music in the first half of the 19th century // works of the faculty. - M., 1961. - Issue. V. - 140 p.

121. Koltypina G.B. Military music in Russia and the USSR: bibliographic index. M.: State Library named after. V.I.Lenin, 1946. - 81 p.

122. Kondakov I.V. Introduction to the history of Russian culture (theoretical essay). M.: Nauka, 1994. - 376 p.

123. Kondakov I.V. Culturology: history of Russian culture. M.: Omega, 2003. - 616 p.

124. Korablev Yu.I. V.I. Lenin and the creation of the Red Army. M.: Nauka, 1970. - 461 p.

125. Korostelev B.E. Art born of the people. M., 1991.- 61 p.

126. Red Army. 1918. -No. 14.

127. Red Star. 1924-1941.

128. Red Army soldier. 1921. - No. 31-32.

129. Red Baltic Fleet. 1919-1922.

130. ХЪв.Kremlev Yu.A. Aesthetic problems of Soviet music. - L., 1959. 104 p.

131. Krivenko S. Culture is the key to victory. // Bulletin of the police army. - 1921. - No. 11-12.

132. Culturology of the XX century: Encyclopedia: in 2 volumes / chapters. ed. and comp. S.Ya.Levit. St. Petersburg : University Book, 1998. - 640 p.

133. Kurbatov S.I. Reform of D.A. Milyutin in the field of officer training: dis. Ph.D. history Sci. M., 1948. - 230 p.

134. Levinson E. Meeting of military bands and railway workers. // Soviet art. 1933. - No. 39.

135. Leman A. Art in the Red Army // Political education worker. - 1921. - No. 14.

136. Leontyev K.L. Music and color. M.: Knowledge, 1961. - 64 p. 143. Livanova T.V. Essays and materials on the history of Russian musical culture. M., 1938. - Issue. 1. - 360 s.

137. Lozanova A. Folk art of the period of the Great October Socialist Revolution and the Civil War (1917-1920). // Russian folk poetic creativity. - M., 1952.

138. Losev A.F. The problem of symbol and realistic art. M.: Art, 1995. - 320 p.

139. Losev A.F., Shestakov V.P. History of aesthetic categories. - M.: Art, 1965. 372 p. 141. Lotman Yu.M. Semiosphere. St. Petersburg, 2001. - 704 p.

140. Lysenko F.I. Military reform 1924 1925 : dis. .cand. ist. Sci. -M., 1947. - 224 p.

141. Lyubimov L.D. In a foreign land // New World. 1957. - No. 3.

142. People and songs of the Chapaev battalion // Soviet music. 1939. -№> 2.151. Mazel JI.A. The structure of a musical work. M.: Gos-Muzizdat, 1986. - 528 p.

143. Malyutina E.F. Concert life in Petrograd in the early years October revolution// In the first years of Soviet musical construction. L.: Soviet composer, 1959. - 286 p.

144. Markaryan E.S. Theory of culture and modern science. M.: Mysl, 1983. - 284 p.

145. Masters of Soviet song: collection of articles. M.: Music, 1977.

146. Matveev V.A. Russian military orchestra. L., 1965. - 99 p. 15b. Matveychuk V.P. Military bands in the Pacific Fleet and the development of musical culture Far East: dis. . Ph.D. art history - M., 1986. 242 p.

147. Mayakin T.K. Military orchestras of the Red Army and Navy // Military music of Russia. History and modernity. M.: Voenizdat, 2007. -S. 93-114.

148. Mayakin T.K. Organization of choral singing in units and formations of the Red Army and Navy in 1918-1941. // Collection of scientific articles by adjuncts and applicants. M.: Military University, 2009. - pp. 39-50.

149. Mayakin T.K. Service and concert activities of military bands and song and dance ensembles of the Red Army and Navy in 1918-1941. // Collection of scientific articles by adjuncts. M.: Moscow Military Conservatory, 2004. - P. 60-87.

150. Mankin T.K. Formation and development of amateur musical performances in units and formations of the Red Army and Navy in 1918-1941. // Bulletin of the Military University. 2009. No. 4(20).- P. 62-67.

151. Mayakin T.K. Formation and development of military conductor education of the Red Army and Navy (1918-1941): textbook. M.: Moscow Military Conservatory, 2002. - 30 p.

152. Messman V.L. In step with the revolution // Soviet music. 1968. -No. 2.

153. Mol A. Sociodynamics of culture. M.: Progress, 1973. - 405 p.

154. Mol A. Information theory and aesthetic perception. M.: Mir, 1966. -352 p.

155. Moscow Conservatory 1866-1966. M.: Music, 1966.- 728 p.

156. Moscow Conservatory 1866-1991. M.: Music, 1991.- 240 p.

157. Sh. Muzalevsky V. The oldest Russian choir. M.: Art, 1938.- 67 p.

158. Sh. Muzalevsky V. Formation and development of amateur music // In the first years of Soviet musical construction. M.: Soviet Composer, 1959. - 388 p.

159. Musical life. 1958. -No. 3.

160. Musical encyclopedia: in 6 volumes // ed. Yu.V.Keldysh. - M.: Soviet Encyclopedia, 1973 1982.

161. Musical encyclopedic dictionary // ed. A.M.Prokhorova, L.I.Abalkina. M.: Soviet Encyclopedia, 1990. - 672 p.

162. Nagorny G.S. Together with the Red Army // Musical life. - 1971. - No. 3.1.l. Nasonov G. Some results // Combat watch. - 1939, November 28.

163. Neuhaus G.G. About the art of piano playing. M.: Music, 1982. - 300 p.

164. Nekrasov N. Instructor’s page (about the main motives of the creative thought of the Red Army soldiers) // Red Army press. - 1921. - No. 1-2.

165. Nestyev I.V. Mass song // Essays on Soviet musical creativity. M., 1947. - 320 p.

166. Nikitina L. D. Soviet music. History and modernity. M.: Music, 1991.-278 p.

167. Nikolaev N.G. Historical essay on the regalia and insignia of the Russian Army: in 3 volumes. St. Petersburg, 1898-1902.

168. Novikov-Priboy A.S. Favorites. -M., 1953. 896 p.

169. New time. St. Petersburg 1868 - 1917.

170. Report of the Main Committee for the organization and education of troops. - St. Petersburg, 1879. - 246 p.

171. Essays on Soviet musical creativity. - M.: Music, 1947. 319 p.

172. Parfenov P.S. How the song was created // Red Army soldier. - 1934. - No. 21.

173. List of topics for doctoral and candidate dissertations developed and defended at the Military-Political Academy named after. V.I. Lenin (1960 1980). - M.: VPA, 1981. - 152 p.

174. Petrovskaya I.F. Source study of Russian musical history XVIII culture beginning of the 20th century. - 2nd ed. - M.: Music, 1989. - 319 p.

175. Piotrovsky A. Overthrow of the autocracy (Performance on Palace Square) // Life of Art. 1919. - No. 199-200.

176. Pozhidaev G.A. Red Banner Ensemble: the path of song and glory. - M.: Voenizdat, 1988. 240 p.

177. Field regulations of the Workers' and Peasants' Red Army. Pg., 1918. -Ch. I. -336 p.

178. Complete collection laws Russian Empire. Second collection: in 55 t.-St. Petersburg, 1830 1885.

179. Popova T.V. About musical genres. M.: Knowledge, 1961. - 40 p.

180. Popov G.M. Fighting songs of the Russian soldier. St. Petersburg, 1893.- 382 p.

181. Ordinal and alphabetical-subject index of unclassified orders of NPOs of the USSR. M., 1934 - 1941.201. Pravda. 1918 - 1941.

182. Subject and alphabetical index of orders of the Revolutionary Military Council of the Republic in 1919. Pg. : Military printing house of the All-Russian General Staff, 1920. - 65 p.

183. Skobelev’s orders 1877 1878 - St. Petersburg, 1907. - 69 p.

184. Pronshtein A.P., Danilevsky I.N. Questions of theory and methodology of historical research: textbook. - M.: Higher School, 1986. 207 p.

185. Worker and theater. 1924. - No. 2.

186. Rush K.B. For the glory of the Fatherland: an officer in society: duty, honor, asceticism. M.: Krug; Rapid - Print, 1993. - 766 p.

187. Rezenshild Y. History of the development of club work in the Red Army // Political worker. 1922. - No. 2.

188. Guidelines and programs for non-military training. - M.: State. ed., 1929. 71 p.

189. Runov B.M. About military-patriotic music. - M.: Soviet composer, 1979. 142 p.

190. Russian archive. 1964. - No. 7.

191. Russian disabled person. 1911. - No. 47.

192. Russian folk poetry. M.: Publishing House of the USSR Academy of Sciences, 1952. - 419 p.

193. Ryzhkov V.N. Aesthetic culture of the Soviet warrior and the ways of its formation: dis. . Ph.D. Philosopher Sci. M.: VPA, 1982.- 199 p.

194. Samus V.N. For the glory of the Fatherland. Kstovo, 1992. - 255 p.

195. Saradzhev K.S. Articles, memories. M.: Soviet composer, 1962. - 191 p. 21 century. Safronov B.V. Aesthetic consciousness and the spiritual world of a warrior: Dis. . doc. Philosopher Sci. M.: VPA, 1975. - 339 p.

196. Safronov B.V. Aesthetic consciousness and the spiritual world of personality. - M.: Znanie, 1978. 112 p.

197. Collection of documents and materials on Russian history ( late XIX beginning of the 20th century). - M.: GA VS, 1992. - 200 p.

198. Collections of unclassified orders of the Revolutionary Military Council of the Republic. Pg. ; Leningrad, 1918 - 1934.

199. Collection of scores for company amateur orchestras. M., 1934. - 60 p.

200. Svistova JI.B. The role of practice in historical knowledge. Sverdlovsk, 1977. - 124 p.

201. Set of rules on reviews and parades of large detachments of troops. St. Petersburg, 1872. - 58 p.

202. Serykh V.D. Military rituals. 2nd ed. reworked and additional - M.: Military Publishing House, 1986. - 276 p. 22 A. Sidelnikov V.M. Red Army folklore. M.: Soviet writer, 1938. - 208 p.

203. Sidelinkov V.M. Russian folk art and pop music. M., 1950. - 64 p.

204. Silachev A. Roots of the Red Army Club // Political Worker. - 1922. - No. 4-5.

205. The Tale of Igor’s Campaign: collection /introduction. Art. D.S. Likhacheva, L.A. Dmitrieva; reconstruction of the Old Russian text and translation. D.S. Likhacheva. L., 1990. - 400 p.

206. Slonim S. About the ways of musical education // Political worker. - 1921. No. 4-5.

207. Soviet military music / comp. P.M.Berlinsky. M., 1977. -428 p.

208. Soviet military encyclopedia: In 8 volumes. M.: Voenizdat, 1976-1980. T. 2 - 639 e., T. 5 - 687 e., T. 6 - 672 e., T. 8. - 687 p.

209. Soviet Armed Forces. History of construction. M.: Voenizdat, 1978. - 516 p.

210. Soviet encyclopedic dictionary. 4th ed., rev. and additional - M.: Soviet Encyclopedia, 1989. 987 p.

211. Sokolov V.V. Farewell of a Slav. M.: Soviet Composer, 1987. - 192 p.

212. Sokolov E.V. Culturology. Essays on the theory of culture. M., 1994. - 272 p.

213. Sokolov E.V. Concepts, essence and main functions of culture. - L., 1989. 176 pp. 23 c. Sokhor A.N. Mass genres // Music of the 20th century: essays: in 2 parts - M.: Muzyka, 1980. Part 2, book. 3. - 348 p.

214. Sokhor A.N. Music as an art form. 2nd ed. - M.: Music, 1970. -192 p.

215. Sokhor A.N. Articles about Soviet music. L.: Music, 1974. -213 p.

216. Stasov V.V. Articles about music: in 5 issues. M.: Music, 1974-1980.- Issue. 2. 439 p.

217. One hundred military parades /author. count; edited by K.S. Grushevsky. M.: Voenpzdat, 1974. - 264 p.

218. Combat cavalry regulations of the Workers' and Peasants' Red Army: at 3 p.m. Pg., 1919-1920. Part I. - 115 p. Part II-III. - 285 p. 242.|Combat infantry regulations of the Workers' and Peasants' Red Army: at 2 p.m. Pg., 1920. Part I. - 167 p. Part II. - 96 s.

219. Drill manual of the Red Army infantry. M., 1939. - 134 p.

220. Tarakanov M.E. Musical culture of the RSFSR. M., 1987.- 363 p.

221. Tarasenko I.V. The problem of periodization of Russian history in domestic historical science: lecture. M.: Humanitarian Academy of the Armed Forces. 1993. - 19 p.24 century. Tatishchev S.S. Emperor Nicholas and foreign courts. Historical essays. St. Petersburg, 1889. - 460 p.

222. Tolstoy A.N. Poly. collection Op. : in 9 volumes. From the contents. : Peter 1. M., 1946. - T. 9. - 462 p.

223. Tretyakov S. May Day March // Red Army Soldier. 1921.- No. 47.

224. Tretyakova JI.S. Soviet music. M.: Education, 1987.- 172 p.

225. Troitsky A.S. Concept and execution // Military Bulletin. 1921.- No. 2-3.

226. Tutunov V.I. 250 years of the Military Band Service in Russia. // Proceedings of the faculty. M., 1961. - Issue. V. - 140 p.

227. Tutunov V.I. History of military music in Russia. -M. : Music, 2005. 439 p.

228. Usov Yu.A. History of domestic performance on wind instruments. 2nd ed., revised. and additional - M.: Music, 1986. - 191 p.

229. Charter of the internal service of the Workers' and Peasants' Red Army. -L., 1918. 215 p.

230. Charter of the garrison service of the Workers' and Peasants' Red Army. Pg., 1918. - 104 p.

231. Charter of the Red Army guard service. M., 1940. - 80 p.

232. Charter of the ship service of the Workers' and Peasants' Red Fleet. -L., 1925. 615 p.

233. Findeizen N.F. Essays on the history of music in Russia: in 2 volumes. M., 1928 - 1929.

234. Frunze M.V. Results and prospects of military development in connection with the reorganization current year// Selected works. - M.: Military Publishing House, 1984. 560 p. 260. Fuchs E.B. Anecdotes of Prince Italian Count Suvorov-Rymniksky. St. Petersburg, 1827. - 66 p.

235. Furmanov D. A. Chapaev. M., 1961.-315 p.

236. Khakhanyan Kh.M. Golden Jubilee. M., 1986. - 92 p.

237. Khakhanyan Kh.M. L.A. Petkevich // To help the military conductor. - M., 1988. Issue. XXVI. - pp. 37-58.

238. Khakhanyan Kh.M. S.A. Chernetsky teacher // To help the military conductor. - M., 1983. - Issue. XXII. - P. 3 - 22.

239. Khokhlov K. Olympics // Red Army soldier. 1921. - No. 48.

240. Reader on the history of Russian military music: in 3 hours - M., 1981-1990. Part I 390 p. Part II - 300 p.

241. Khubov G. How people compose a song // Soviet music. - 1948. -No. 4.

242. Tsinovsky L. Intra-circle work in the club // Political worker. - 1922. - No. 4-5.

243. Tsitsankin V.S. Military bands in the second half of the 19th century. -M., 1997. 88 p.

244. Tsitsankin V.S. Musical culture of the Russian officer (second half of the 19th century). M., 1995. - 100 p.

245. Cherepnin L.V. Issues in the methodology of historical research. M.: Nauka, 1981.- 280 p.

246. Chernysh V.D. Art as a factor in the formation of the personality of a Soviet soldier: dis. .cand. Philosopher Sci. M.: VPA, 1980.- 203 p.

247. Shostakovich D.D. To know and love music: a conversation with youth. - M.: Young Guard, 1958. 14 p.

248. ARCHIVE DOCUMENTS AND MATERIALS

249. Russian State Military Archive (RGVA).

250. Fund 4 Administration of the People's Commissar of Defense of the USSR.

251. Op. 15a. D. 61, 90, 92, 99, 144, 163, 246, 403, 414, 434, 444, 446, 450, 469, 470, 488.

252. Fund 9 Political Administration of the Red Army. Op. 11. D. 17, 23, 57, 129, 174, 175, 188, 189.

253. Op. 12. D. 2, 4, 6, 11, 21, 41, 43, 44, 46, 48, 49, 53, 54. Op. 13. D. 18, 58, 103, 107, 110, 112, 113, 480, 486, 535, 536, 564, 571, 652.

254. Op. 29. D. 404, 432, 485, 486, 487, 492. Op. 35. D. 26, 94.

255. Fund 24696 Military Academy named after. M.V. Frunze.

256. Op. 1. D. 106, 108, 218, 219, 222, 223, 227, 230, 233, 241, 244, 247, 248, 249, 256, 257, 258, 261, 262, 269, 270, 271.

257. Fund 25018 Kursk Military Music School. Op. 1. D. 1.

258. Fund 25019 Tashkent Military Music School.

259. Op. 1. D. 1, 3, 8, 12, 14.

260. Fund 33451 Petrograd Military Music School. Op. 1. D. 11, 32.

261. Russian State Archive of the Navy1. GRGA Navy).

262. Fund p 34 - Political Administration of the Baltic Fleet.

263. Op. 2. D. 26, 27, 34, 37, 47, 55, 110, 121, 254, 285, 286, 414, 484, 523,683, 1411.

264. Fund p 309 - Music school of the training detachment of the Baltic Sea Naval Forces.

265. Op. 1. D. 1, 4, 11, 12, 13, 15, 16, 32, 33, 37, 56. Op. 2. D. 7, 8, 9, 34.

266. Fund r - 1000 - Pacific fleet crew. Op. 1. D. 20.

267. Fund r 1012 - Department of Political Propaganda of the Pacific Fleet. Op. 2. D. 20.

268. Fund r 1873 - Leningrad Naval School for military musicians.1. Op. 1. D. 1.

269. Russian State Archive of Literature and Art (RGALSH.

270. Fund 1943 - Semyon Aleksandrovich Chernetsky Fund.

271. Op. 1. D. 1, 8, 11, 13, 18, 23, 24, 25, 48, 49, 51, 54, 55, 58, 59, 63, 64, 65, 72, 82, 100, 102, 147, 151, 156, 218, 221, 223, 233, 312.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Mayakin, Timofey Konstantinovich. Military musical culture of Russia: historical and cultural analysis: dissertation... Candidate of Philosophical Sciences: 24.00.01 / Timofey Konstantinovich Mayakin; [Place of protection: Nizhegor. state architecture-builds University].- Nizhny Novgorod, 2010.- 149 p.: ill. RSL OD, 61 11-9/34

Introduction

Chapter 1. Specifics and social functions of Russian military musical culture 11

Chapter 2. Formation and establishment of professional music education in Russia 42

Chapter 3. 67

Chapter 4. Development of amateur musical performances in the army environment 97

Conclusion 125

Bibliography

Introduction to the work

Relevance of the research topic. The specifics, structure and functions of Russian military musical culture largely determine the relevance of its research due to the following circumstances.

Fifthly, it is relevant to study military musical culture from the point of view of its psychological, national-patriotic role in the education of personnel of the Armed Forces of our country.

The degree of scientific development of the problem. It is unfortunate to note that the level of scientific elaboration of the problem of the development of military musical culture in Russia is very weak and research is fragmentary. Considering a problem from a class angle is not always

All works, which to varying degrees reflect the problem of the development of military musical culture, can be divided into several groups.

The first includes works of Russian culturologists of a general methodological nature, which to one degree or another touch upon the problems of musical culture in theoretical terms.

The second group is represented by complex works of domestic art historians on the history of music and musical culture of Russia. In them, the problem of the development of military musical culture is considered in a general form, in connection with issues of cultural construction of the state. As a rule, all these works provide a fairly detailed excursion into the history of musical life in Russia. At the same time, coverage of issues related to the development of military musical 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. Alexandrov. 4

Cm.: Arnoldov A.I. Man and the world of culture. - M., 1992; Vinnshchkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. ...cand. Philosopher Sci. - M., 1984: Vygotsky L. WITH, Luria A.R. Categories and concepts of cultural theory. - M., 1985; Dorogova L.N. Artistic culture and the formation of a warrior’s personality: dis. ... Doctor of Philosophy Sci. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture.-L., 1989, etc.

2 See: Bronfin E.F. Musical culture of Petrograd in the first post-revolutionary period
five-year anniversary: research. - L., 1984; Nikitina L.D. Soviet music. History and modern times
ness. - M., 1991; Tarakanov M. E. Musical culture of the RSFSR. - M., 1987, etc.

3 See: Aksenov E.S. New in the instrumentation of the Soviet military march. - M., 1970; Mat
Veev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music //
Reader on the history of military music. - M., 1988. - Part II; Tutunoe V.I. 250 years of Military
orchestral service in Russia. - M., 1961, etc.

4 cm: Alexandrov B.A. The song is calling. - M., 1982; Koroste.chev B.E. Art born
by the people. - M., 1991; Pozhidaev G.A. Red Banner Ensemble: the path of song and glory. - M.,
1988; Shilov A.V. Unknown authors of famous songs. - M., 1961, etc.

A separate group of sources consists of documents widely represented in the historical archives of Russia; 1 this should also include legislative documents published in different years And acts (decrees, orders, directives, charters, instructions) indirectly affecting the problem of the development of military musical culture and which made it possible to significantly supplement the source base of the study. 2

A separate type of material under study is represented by collections of military songs, marches, concert works for military bands and amateur groups.

Subject of research is the military musical culture of Russia. Considering that this subject is quite multifaceted, we highlight those aspects of analysis that constitute object of study: the historical formation of military musical culture, its specifics, the main social functions and forms of manifestation, the structure of training military musicians and conductors.

Russian State Military Archive (RGVA), Russian State Archive of the Navy (RGA Navy), Russian State Archive of Literature and Art (RGALI).

2 See: Combat cavalry regulations 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. 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.

Purpose and objectives of the study. The main goal of the study is a historical and cultural analysis of the specifics, structure and functions of military musical activity.

The goal necessitated the study of a number of specific tasks that determined the content of the work:

identification of social needs in military musical culture;

analysis of the specifics of military musical culture as a special type of applied culture of society;

study of the main social functions of military musical culture with the definition of their features and meanings;

study of the structure and features of military music education and training of relevant personnel;

analysis of the main forms of organization and manifestation of military musical activity.

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 patterns of formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form - military musical activity. Analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.

Methodological basis of 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 and musical activities; the principle of functionality, with the help of which a multifunctional analysis of military musical culture is made; the principle of determinism, which necessitated

research into the dynamics of military musical culture depending on socio-political changes in society.

Scientific novelty of the research. IN The work explored problems that may be of scientific value for cultural studies (theory and history of culture):

firstly, the specifics of military musical culture as a special type of applied culture have been clarified;

secondly, the social determination of military music is shown by changes of a socio-political nature in the country;

thirdly, a system of social functions of military musical culture in public life has been identified;

fourthly, genres, forms of manifestation and types of military musical activity have been studied;

Fifthly, the features and structure of the military
music education at the stage of its formation and subsequent developments
laziness;

Sixthly, trends and prospects for the development of military
amateur musical performances.

Provisions for defense:

The specificity of the military musical culture of Russia, presented as a unique type 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.

The specificity of the applied nature of military music culture is determined by the peculiarities of personnel training and the content of the structure of the entire system of military music education.

The main types and forms of military musical activity have common and special features in peaceful and combat conditions of society.

Analysis of the real existence of military musical 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 musical culture of Russia, as a universal and multifaceted phenomenon, influences the mass consciousness of society.

Theoretical and practical significance of the study. IN theoretically, the research materials may be significant for a more in-depth understanding of the problems of applied cultural studies, which develops within the boundaries of general theory and cultural history. This is evidenced by similar studies of design culture, behavior culture, speech culture, religious culture, etc.

Approbation of research results. The results of the study 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. P.I. Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at a scientific and practical conference of the Military Conductor Faculty. The dissertation materials are reflected in several articles, as well as in the author’s monograph “Military Musical Culture of Russia” (M., 2010) and in the collective monograph “Military Music of Russia” (M.: Voenizdat, 2007).

The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.

Structure of the dissertation. The dissertation of 149 pages consists of introduction, 4 chapters, conclusion and bibliography, including 282 titles and 153 archival sources.

and social functions of Russian military musical culture

A.V. Suvorov often mentions the use of orchestras: “Music in battle is necessary and useful, and it must be the loudest.” How actively did you use military music? great commander can be judged by his orders. In the battle of the Trebbia River, one of his orders stated: “Do not use the stand command, this is not in training, but in battle: attack, chop, stab, drums, music!... When struck, make a big shout and beat the drum hard ; play music wherever it happens, but especially in pursuit...”2.

In the 18th century musical instruments become 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, awards with silver trumpets and horns took third place. The highest insignia of distinction was the awarding of regiments with a standard (banner), then an order and then silver trumpets. “The first award with trumpets took place in 1739; they were awarded to one of the battalions of the Izmailovsky regiment, which distinguished itself during the capture of the Ochakov fortress. Many regiments of the Russian army were awarded silver trumpets during the Seven Years' War and, especially, for the capture of Berlin in 1760."

Silver and St. George4 trumpets and horns, like regimental regalia, were protected along with banners and regimental standards. Signals on silver trumpets and horns were made only on special occasions in accordance with special instructions. Thus, in the 18th century, awarding musical instruments became firmly established as a practice of rewarding regiments that particularly distinguished themselves in combat operations, which can be considered as a manifestation of the musical culture of the Russian army and navy.

The beginning of the reign of Alexander I was marked by the creation of a number of new military educational institutions. In 1801, in connection with the proposal of the chief of the 1st cadet corps, General P.A. Zubov, to establish provincial military schools, Alexander the 1st issued a decree that ordered the organization of officer training in 17 provinces. The main reason Such close attention of the emperor and his entourage to this issue was due to the need for a sharp increase in the size of the army.

Particularly rapid growth of the army occurred in early XIX V. and during the Patriotic War of 1812. “If in 1800 the Russian army numbered 394 thousand people, then by 1825 the size of the Russian army reached 950 thousand”1.

The increase in the size of the army several times gave rise to many problems, including: organizing the daily activities of troops, managing a large number of people on the battlefield, psychological preparation for rallying and unifying military units, etc.

Military music played an important role in solving these problems. During the 1st half. XIX century In the military bands of the Russian army, a number of important events were carried out, covering various aspects of their life: staffing, instrumental compositions, the leadership system in guard bands, and training of musicians. These events consistently improved the state of the musical culture of the army and navy, the number of which was constantly increasing due to participation in hostilities.

The official activities of military bands, as before, consisted of providing Everyday life troops. At the same time, military bands increasingly began to directly participate in hostilities. A number of official documents have been preserved indicating that many musicians of military bands were awarded awards for their participation in hostilities. So, during the Battle of Friedland on June 2, 1807, the battalion drummer Mizdryukov “... launched a huntsman campaign, through which he gathered about 100 privates, who courageously struck the enemy riflemen”1. During the Patriotic War of 1812, before the Battle of Borodino, “... every time... the brigade commander led his regiments forward with the beating of drums to meet the cavalry with bayonets.”

Signal service in the 1st half. XIX century in the Russian army, which became widespread during combat operations, became even more closely connected with the organization and methods of training troops. The basic rules and techniques for giving certain signals, which had different purposes when performing drill techniques without weapons, with weapons, when training troops in tactical art, when performing ceremonies and rituals of a military nature, began to be comprehensively regulated by statutory provisions, orders, special instructions and circulars .

Of great importance for the development of military music was the invention and introduction of chromatic brass instruments3 into orchestras, which significantly expanded their artistic capabilities.

Formation and development of professional music education in Russia

In the same 1918, the All-Russian Central Executive Committee decided to widely hold celebrations on the occasion of the celebration of May 11. In honor of the proletarian holiday, in addition to the demonstration of workers, it was decided to hold a parade of units of the Moscow garrison.

In the morning, columns of demonstrators headed towards Red Square. Ahead of them were military units led by their orchestras, performing revolutionary songs and marches.

Having passed the square, the military units moved in the direction of Khodynskoe Field to take part in the military parade, scheduled for 16:30. Before the start of the parade, V.I. Lenin arrived at Khodynskoye Field. To the sounds of an oncoming march, “... Ilyich began to go around the troops. He greeted every unit, every military school, and congratulated the soldiers on May Day. The answer was: “Hello, Comrade Lenin! Hurray!”2 After going around the troops, Lenin rose to the podium and the first ceremonial march of the Red Army units began.

The management of the musical design of the first Soviet military parade was entrusted to Ludomir Antonovich Petkevich, the former military bandmaster of the 11th Dragoon Phanagorian Generalissimo regiment of Prince A.V. Suvorov. According to his testimony, in addition to the “Internationale”, “Varshavyanka”, “Bravely, comrades, keep up!” and other revolutionary songs, at the parade and demonstration of workers, some marches from the pre-revolutionary repertoire of Russian military bands were also performed: “Suvorov March” by Furman, the march “Bogdan Khmelnitsky” by an unknown author, Fanfare March of L.A. Petkevich, etc.4

“When the passage of the troops ended and the field began to empty,” recalls L.A. Petkevich, “without further instructions, I gave the command to the orc 71 countries to collect notes. Apparently, they noticed from the podium that the orchestra was about to leave. And then suddenly Vladimir Ilyich walked towards the orchestra. I hurried to meet him and saluted him. Expressing satisfaction with the orchestra’s performance, he said: “Now the demonstrators are coming, we must meet them with a march,” and he quickly returned to the podium.” Ludomif Antonovich did not pay attention to this case at the time. of great importance, although I had never seen a demonstration go on after military parades before. This new tradition was started by V.I. Lenin.

In subsequent years, military parades were scheduled on national holidays: May 1 and November 7. In addition, during the Civil War, the holding of military parades on the occasion of seeing off military units and work detachments to the front2, as well as in connection with the release of Red commanders, became widespread. So on June 15, 1919, V.I. Lenin hosted a military parade of Kremlin cadets in the Kremlin, at the end of which “... the cadets marched along the parade ground in a solemn march, and a few days later the graduates went to the front.”4

Depending on the anniversary date of the unit, commanders, as a rule, organized parades of the units entrusted to them. An example of this is the military parade that took place on November 19, 1939 in units of the First Cavalry Army on the occasion of its 20th anniversary. The solemn, festive mood of the fighters of the illustrious association during its implementation was enhanced by “...the playing of the combined military orchestra under the direction of Comrade. Shaes, who announced the beginning of the holiday with the sounds of a counter march.”5

A comparative analysis of military parades in the pre-revolutionary and Red armies allows us to trace some continuity in the external forms of their conduct. This is expressed in the similarity of the components of this ritual (formation of troops, meeting the host of the parade, detour and congratulations of the participants, marching in a solemn march1), as well as commands for controlling the troops participating in the parade.

However, significant changes occur in their musical design. A new means, a new form of musical accompaniment for Red Army parades, was the organization of combined military bands capable of solving complex problems of musical arrangement of the ritual. For the first time, the thousand-pipe combined orchestra of the Moscow garrison, led by the head of the Military Bands Directorate, was involved in the May Day parade of 1922

In addition, the musical material performed at the parade undergoes significant changes. This was due to the fact that in the 20-30s. XX century The thematic nature of the march was enriched by Soviet mass and folk songs, which played an important role in the formation of the musical features of its musical language. In the marches of this period, song themes were used either in the form of borrowing and processing of individual song phrases, or in the form of direct quotation of a particular song. This was a valuable form of popularization of folk and mass Soviet songs among the Red Army and from this point of view deserved a positive assessment3.

Significant changes also occurred in the musical design of other military rituals. So, the pre-revolutionary music of “Dawn” is replaced by the new one, composed by S.A. Chernetsky in 1927, “Red Dawn”4. By the 1930s The appearance of new music relates to the ritual of raising the guards. Instead of the “Big Gathering”, which traditionally passed from the repertoire of military bands of the Russian army and was played for a long time during

Service and concert activities of military bands and ensembles

Concerts of symphonic music for military audiences were not limited to performances by the symphony orchestra of the Baltic Fleet political department in Petrograd. The symphony orchestra in Kronstadt, consisting of 56 people, performed the same work. Its conductor was A. Bauer. Performances of these groups took place at all bases of the Baltic Fleet, and in addition, at the Onega-Lake-River, Volkhovo-Ilmen and Peipus flotillas2.

Just as in Petrograd, the Political Directorate of the North Caucasus Military District organized a symphony orchestra in Rostov-on-Don under the direction of the famous conductor K.S. Saradzhev. In the summer of 1920, he was appointed conductor to the newly organized symphony orchestra of the Azov-Black Sea Fleet, with which he worked until 19223.

The performances of the symphony orchestra of the Central House of the Red Army named after M.V. Frunze enjoyed particular success in Moscow. The initiators of the creation of this ensemble and its conductors were S.A. Chernetsky and L.P. Steinberg. In addition to them, guest conductors were also involved in the preparation of individual programs4.

Concerts of the CDKA symphony orchestra were held in military units, workers' organizations, Officers' Houses and concert halls of the capital. The high professionalism of this group is evidenced by the repertoire, which consisted of the best examples of symphonic music. Thus, in the concert dedicated to the 35th anniversary of the death of P.I. Tchaikovsky, composed entirely of the composer’s works, his IV Symphony, concert for violin and orchestra, suites from the ballets “The Nutcracker” and “Swan Lake”, and the Solemn March were performed.

In addition to performances held in the Moscow region, the CDKA Symphony Orchestra also conducted extensive touring activities in various regions of the country. Thus, in the period from January 11 to April 21, 1939, during a trip to serve units of the First and Second Separate Red Banner Armies, they were given 83 concerts in 25 different garrisons of the Far East and Transbaikalia." In addition to its main work, the orchestra also provided practical assistance to Red Army amateur performances. In particular, in the Kuibyshev and Blagoveshchensk garrisons, he performed together with Red Army amateur choirs.3.

Along with symphony orchestras, many brass bands also took an active part in cultural and educational work. The Exemplary Military Band of the RSFSR played an important role in the musical life of the country in the 20s and 30s. Many outstanding musicians participated in this first-class ensemble, including M. Tabakov, A. Adamov, V. Blazhevich, V. Soloduev and others. The orchestra accompanied the famous singer I. Tartakov, the famous violinist L. Tseitlin. He was accompanied by the great Russian singers A. Nezhdanova and L. Sobinov.

The orchestra performed before the delegates of the Third World Congress of the Comintern and the Fifth All-Russian Komsomol Congress. His programs featured revolutionary songs and marches, works by Russian and Western European classics.

One of the most popular forms of concert activity of military bands outside the military unit was their performances in parks, gardens, fairs and squares in front of city residents. The special cultural and educational significance of this type of activity of the military orchestra was noted back in the 19th century. outstanding Russian critic V.V. Stasov. He wrote: “Military bands are conductors of not only military music, but also all kinds of music to the masses of the people. On the street, in a public garden, in a procession, in every folk or national celebration - who do people always hear if not just one military orchestra, through whom they know something of music, if not through him?

In the 30s XX century The parks of Moscow and other cities were unique centers of cultural life, where the best performing forces gathered. Military brass bands also occupied a worthy place among them. Daily in summer period mid-1930s in the Central Park of Culture and Leisure named after A.M. Gorky in Moscow alone, up to ten military bands performed on various stages.

For many years, the NKVD Exemplary Orchestra under the direction of V.I. Agapkin played in the Moscow Hermitage Garden. Along with the music of dance genres, the group’s program included such works as the overture to the opera “Prince Igor” by A.P. Borodin, the overture to the opera “Ruslan and Lyudmila” and “Kamarinskaya” by M.I. Glinka, works by P.I. Tchaikovsky , M.P. Mussorgsky, A.K. Glazunov, F. Chopin, R. Wagner and many other composers.

Development of amateur musical performances in the army environment

A young Cossack was killed there. Passing from mouth to mouth, from one army generation to another, the song lived a long life. It also reached the era of the Civil War. Its wide popularity among soldiers prompted army political worker A.V. Marinov to write new words to the old melody that corresponded to the spirit of the times: Hey, on the road! The red army is marching along the road. Hey, it's slim! It sings a red song harmoniously. Hey, that's power! This formidable force is coming. Hey, Soviet power! The power of the Soviets will never disappear1. In 1924 “Gay, on the road!” was published in the collection “Songs of the Red Army”, and subsequently included in the repertoire of the Red Banner Song and Dance Ensemble of the USSR.2

Red Army poets adapted a wide variety of songs to the new conditions, ranging from beautiful old polyphonic Cossack songs (“The nights are dark, the clouds are menacing,” “Let us remember the glorious Kuban people”) and ending with the most banal tunes (“The last day of today,” “The poor fellow died in a military hospital.” ). Such popular old soldier songs as “It happened near Poltava”, “All the guns, the guns roared”, “Varyag” and many others were also paraphrased dozens of times.

If the overwhelming majority of ancient soldier folklore did not change its musical content, then many urban songs that existed in the Red Army environment underwent significant rhythmic and melodic changes. Characteristic in this regard is the classic example of the song “Boldly we will go into battle,” which arose as a result of a radical modification of the everyday romance “White Acacia.” It is noteworthy that in the new musical version the waltz-like melody was transformed into a more strong-willed, clear, rhythmically elastic pattern. Essentially, a completely new song emerged that became one of the favorites during the Civil War. No wonder, according to D. Furmanov, the fighters sang this song, especially its chorus, “... with the greatest enthusiasm and inspiration.”1

The main themes of the songs of the Civil War are the revolutionary transformation of the world and the defense of the young Soviet fatherland. In poetry they are usually expressed in the form of solemn and romantically elevated calls and slogans, oratory addresses and posters of that era. The texts were dominated by optimistic and heroic sentiments, emphasizing the fearlessness and selfless courage of the defenders of the revolution. There were also motifs of sacrifice, inherited from old revolutionary songs, but on the whole, cheerfulness and life-affirmation prevailed. The hero of the songs of the Civil War was the entire people. Sometimes individual combatants and favorite commanders are also mentioned,” but their images are also very generalized.

The common features of the music of the first Soviet songs are masculinity, appeal, daring or harsh, but cheerful character. The most common genres among them are anthem-march, marching song and ditty. Intonation sources are varied: these are revolutionary anthems, and folk soldiers' songs, and urban everyday music, but they are all subordinated to the oratorically clear manner of pronunciation and the decisive marching rhythm of the conscription anthem or marching song.

Despite the fact that many of the songs created in this way enjoyed great love and were widely disseminated among the Red Army, the predominance of old melodies in the Red Army repertoire met with resistance from political departments. Particular displeasure was caused by the widespread use of old soldiers' songs, associated with the hated spirit of the tsarist army.

The resolution adopted at a meeting of cultural and educational workers of the Western Front, held at the end of 1919, said: “The revolutionary song, inspiring the soldiers of the revolution to great feats, must be heard. New songs of struggle and joy must replace... songs of restaurants and booths,... old songs of the tsarist army with new songs of victory and labor."

To accomplish this task, the Red Army press and political agencies carried out a tremendous amount of work locally aimed at supporting the creative initiative of the masses in creating new songs. In this regard, poems by soldiers and commanders, often far from poetic perfection, but truthful, warmed by patriotic feeling, full of irreconcilable hatred of the enemy, were published in army newspapers.

At the same time, competitions were held in various districts to create new military songs, the topics of which were supposed to cover “... any aspect of the life of the Red Army.” In addition, the conditions for holding competitions indicated the need to reflect “... all types of weapons” in the texts. Based on the results of the listening, the authors of the best works were awarded cash prizes5, and the songs themselves were sent to the PUR for compilation of collections and publication.

Thus, in 1923, about 200 works were received from parts of the Ural and North Caucasus military districts alone, which were “... transferred to the State Music Publishing House for recall and further use”1.

It should be noted that the publication of songbooks compiled from works of Red Army creativity was also carried out locally. In 1921, the First Cavalry Army published a collection of poems, “Songs of the Red Cavalry,” printed in a printing house. It was intended as “... an expensive gift for the red cavalryman on the day of the first anniversary of the army”2. The same collections were prepared in the Moscow, Kiev, Ural and many other military districts3.

Almost simultaneously with the updating of old melodies and the creation of amateur songs, the first works created by professional composers and writers began to appear in units of the Red Army. The credit for the origin of one of the first such songs, which subsequently gained enormous popularity not only in the army, but throughout the country, belongs to Dm.Ya. Pokrass, who wrote “Budenny’s March” to the words of the poet A.A. Frenkel (d Aktil).

Its creation was dedicated to the liberation of Rostov-on-Don in January 1920 by units of the First Cavalry Army, where both authors worked at the local pop theater at that time. The song of the twenty-year-old composer at that time was approved by the command of the First Cavalry, and D. Pokrass himself was enlisted in its ranks as a Red Army soldier. While serving in the Red Army, D. Pokrass wrote several more works dedicated to his fellow soldiers.4

To narrow down the search results, you can refine your query by specifying the fields to search for. The list of fields is presented above. For example:

You can search in several fields at the same time:

Logical operators

The default operator is AND.
Operator AND means that the document must match all elements in the group:

research development

Operator OR means that the document must match one of the values in the group:

study OR development

Operator NOT excludes documents containing this element:

study NOT development

Search type

When writing a query, you can specify the method in which the phrase will be searched. Four methods are supported: search taking into account morphology, without morphology, prefix search, phrase search.
By default, the search is performed taking into account morphology.
To search without morphology, just put a “dollar” sign in front of the words in the phrase:

$ study $ development

To search for a prefix, you need to put an asterisk after the query:

study *

To search for a phrase, you need to enclose the query in double quotes:

" research and development "

Search by synonyms

To include synonyms of a word in the search results, you need to put a hash " # " before a word or before an expression in parentheses.
When applied to one word, up to three synonyms will be found for it.
When applied to a parenthetical expression, a synonym will be added to each word if one is found.
Not compatible with morphology-free search, prefix search, or phrase search.

# study

Grouping

In order to group search phrases you need to use brackets. This allows you to control the Boolean logic of the request.
For example, you need to make a request: find documents whose author is Ivanov or Petrov, and the title contains the words research or development:

Approximate word search

For an approximate search you need to put a tilde " ~ " at the end of a word from a phrase. For example:

bromine ~

When searching, words such as "bromine", "rum", "industrial", etc. will be found.
You can additionally specify the maximum number of possible edits: 0, 1 or 2. For example:

bromine ~1

By default, 2 edits are allowed.

Proximity criterion

To search by proximity criterion, you need to put a tilde " ~ " at the end of the phrase. For example, to find documents with the words research and development within 2 words, use the following query:

" research development "~2

Relevance of expressions

To change the relevance of individual expressions in the search, use the " sign ^ " at the end of the expression, followed by the level of relevance of this expression in relation to the others.
The higher the level, the more relevant the expression is.
For example, in this expression, the word “research” is four times more relevant than the word “development”:

study ^4 development

By default, the level is 1. Valid values are a positive real number.

Search within an interval

To indicate the interval in which the value of a field should be located, you should indicate the boundary values in parentheses, separated by the operator TO.
Lexicographic sorting will be performed.

Such a query will return results with an author starting from Ivanov and ending with Petrov, but Ivanov and Petrov will not be included in the result.
To include a value in a range, use square brackets. To exclude a value, use curly braces.