Folklore and Phonosphere

By Tarakanov, Mikhail E. | UNESCO Courier, April 1986 | Go to article overview

Folklore and Phonosphere


Tarakanov, Mikhail E., UNESCO Courier


Folklore and phonosphere

THERE will always be people who claim that when they listen to instrumental music--or "pure" music--it conjures up no spatial images in their imagination, and that they experience it only as duration. One thing is certain, however: it is difficult to conceive of music as a phenomenon without a precise image of musicians playing in a specific place, whether an enclosed or an open space. By its very nature, and whatever the context, music is, and will remain, a performance.

In the USSR, popular music occupies a prominent position. As we find wherever folklore has stayed alive, spontaneous musical improvisation, intended to be heard by a gathering of people and calling for certain spatial conditions, is still a major form of creative art. Professional art based on oral tradition has also been preserved over very wide areas, in Central Asia and in Transcaucasia, in the highly elaborate form of the mugam, epic tales told by renowned artists who have learned a special technique of singing and acquired a perfect mastery of the traditional instruments of the East.

This popular music has conquered new territory on the stage, on radio, on television and in records, and in so doing has been assimilated into the public system of music consumption. This expansion has had an encouraging impact on the status of music in general, while at the same time it has pushed traditional types of creation towards professionalism with the new spatial forms needed for producing and listening to music and the professional sophistication that these require.

The creators of folk music have to learn musical techniques, polish their performances and rehearse intensively to prepare for concerts when they use such specialized facilities as recording studios, rehearsal rooms, and the stages of variety theatres. A delicate problem arises: exposed to the limelight of professionalism, the spiritual nature of popular creative art is likely to wilt, and needs protection. Folk song and folk dance troupes are as plentiful in the USSR as they are well-loved beyond its borders. As a consequence of this powerful movement to take over folklore, living folk art is tending to lose its spontaneity and formal continuity and to be turned into a subject for study and teaching.

Fortunately, a movement is also emerging to preserve the full authenticity of folk art, notably through staging performances that are faithful in all respects to the spirit of popular festivals. In many regions folk troupes have sprung up which are keeping alive the old styles of singing. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Folklore and Phonosphere
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.