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Timofey Mayakin is the chief military conductor of the Russian Federation. Military Musical Culture of Russia: Historical and Cultural Analysis Mayakin, Timofey Konstantinovich

At present, a separate discipline (a special instrument - brass and percussion instruments) is supervised by a teacher (discipline leader) Ryabukhin Ivan Viktorovich.

The main goal of a separate discipline is:

Preparation of a performer on a special instrument as an artist-interpreter who has the necessary knowledge of solo and ensemble instrumental performing arts, playing techniques and teaching methods for playing a special instrument.
Improving the methodological and research work of teachers. The introduction of the most effective methods of pedagogical activity, the use of new modern educational technologies, scientific achievements in the field of performing arts.

The main tasks of a separate discipline:

Development and implementation of curricula in academic disciplines in accordance with the requirements of the Federal State Educational Standard for the third generation of free software.
Scheduling of training sessions, planning, organization and implementation of educational, methodological, creative and performing and extracurricular activities.
Conducting all types of training sessions, practices and certification of Suvorov students, provided for by the curriculum and training programs.
Maintaining planning and reporting documentation on the work of the discipline.
Participation of teachers in the educational, methodological, scientific and practical work of the school.
Improving the professional skills of teachers.
Organization and holding of competitions for the title of "Best performer on a special instrument" at the school, as well as participation in other music competitions held at the Russian and international level.
The introduction of innovative methods, the use of modern technical means, information and communication technologies in education.
Development and improvement of the educational and material base of the discipline.
Strengthening ties with the department of instruments of the military band of the Military Institute (military conductors) of the Military University and other educational musical institutions in Moscow. Control over the execution of educational and labor disciplines.

All employees of a particular discipline have higher professional education.

2 teachers have honorary titles:

teacher B.B. Boldyrev - "Honored Artist of the Russian Federation"
teacher V.P. Matveychuk - "Honored Worker of Culture of the Russian Federation."

1 teacher is a postgraduate student:

teacher D.A. Ivanov

Teachers who have come a long way in military service in the ranks of the Armed Forces are successfully working and passing on rich experience to Suvorov students:

Ryabukhin Ivan Viktorovich
Nazarov Viktor Nikolaevich,
Matveychuk Vasily Petrovich,
Sknarin Alexander Vasilievich.

A separate discipline (a special instrument - brass and percussion instruments) is one of the leading ones at the Military Music School. The history of its creation goes back to the distant 60s. The first leader of the discipline was Lieutenant Colonel G.I. Mamaliga, who fruitfully served in this position from 1961 to 1969.

Since 2011, I.V. Ryabukhin has been appointed to the position of teacher (head of discipline).

The discipline of brass and percussion instruments is rightfully proud of its graduates, among them:

Evgeny Leonidovich Bank - Honored Artist of the Russian Federation, Professor of the Department of Brass Bands and Ensembles of the Moscow State Institute of Cinematography, artist of the orchestra of the Moscow Musical Theater "Helikon-Opera" (from 1995 to 2009 he was the director and inspector of this orchestra), associate professor, reserve major;
Orlov Dmitry Mikhailovich - Honored Artist of Russia, laureate of the Moscow City Prize and holder of the Order of Friendship. Artistic director and chief conductor of the Moscow State Symphony Orchestra for Children and Youth. During the anniversary concert in the Hall of Church Councils of the Cathedral of Christ the Savior in October 2012. Patriarch of Moscow and All Rus' Kirill awarded conductor D.M. Orlov with the Order of the Russian Orthodox Church of St. Sergius of Radonezh;
Mikhailov Nikolai Mikhailovich - Head of the Military Band Service of the USSR Ministry of Defense, Chief Military Conductor of the USSR, Honored Artist of the Russian Federation, Major General. After the resignation, Nikolai Mikhailovich became a professor at the Music Academy. Gnesins, Moscow City Children's Music School. Gnesins, held conferences and seminars, was an active participant in many public organizations;
Solodakhin Vladimir Mikhailovich - Chief Conductor of the Navy Exemplary Orchestra, People's Artist of the Russian Federation, captain of the 1st rank of the reserve;
Skenderov Andrey Karpovich - Artist of the choir at the theater "New Opera", reserve major;
Nazarov Viktor Nikolaevich, teacher of the Military Musical College in the trumpet class, Honorary Worker of Secondary Vocational Education of the Russian Federation, participant in the liquidation of the accident at the Chernobyl nuclear power plant;
Polushin Vyacheslav Grigorievich, Honored Artist of the Russian Federation, Colonel of the Reserve, teacher of the military institute (military conductors) of the Military University, currently - teacher of the Children's Music School. A.B. Goldenweiser;
Afonin Gennady Alexandrovich, Honored Artist of the Russian Federation, Associate Professor, Head of the Moscow Military Music School in 1993-2005, Colonel of the Reserve;
Makarov Igor Viktorovich, Honored Artist of Russia, Professor of the Department of Brass Instruments of the Moscow Conservatory, in 1982-1990. - soloist of the State Academic Symphony Orchestra of the USSR, since 1990 - soloist of the Russian National Orchestra;
Danilchenko Alexander Sergeevich - captain of the 1st rank of the reserve, Honored Art Worker of the Russian Federation, People's Artist of Russia, in 1972-1994. - military conductor of the orchestras of the Pacific Fleet, in 1996-2007. - Head - Artistic Director of the Concert Orchestra of the Russian Navy named after N. Rimsky-Korsakov, currently - Chief Conductor of the Concert Exemplary Orchestra of Russian Railways;
Shilkloper Arkady Fimovich is a world famous jazz horn player and alpengorn performer. From 1977 to 1985 he worked at the Bolshoi Theater of the USSR, from 1985 to 1989 in the Moscow Philharmonic Orchestra, since 1989 solo instrumentalist, one of the famous horn performers of jazz and experimental music;
Anikin Viktor Ivanovich - Head of the Department of Instruments of Military Bands of the Military Institute (Military Conductors) of the Military University. Currently - professor at the Moscow State University of Culture and Arts, Honored Artist of Russia, retired colonel;
Trunov Mikhail Mikhailovich - head of the Military Institute (military conductors) of the Military University, Honored Artist of the Russian Federation, professor, colonel;
Chugreev Vladimir Sergeevich - Deputy Head of the Military Institute (military conductors) of the Military University for scientific work, professor, reserve colonel;
Kolotushkin Andrey Alekseevich - Head of the 13th Band of the Headquarters of the Moscow Military District, Head of the Central Military Band of the Ministry of Defense of the Russian Federation, Honored Artist of the Russian Federation, Colonel of the Reserve, currently - Conductor of the State Brass Band of Russia;
Mayakin Timofei Konstantinovich - Head of the Military Band Service of the Armed Forces of the Russian Federation - Chief Military Conductor, Ph.D. in Philosophy, Honored Artist of the Russian Federation, Associate Professor, Colonel;
Shevernev Igor Vyacheslavovich - Chief Inspector of the Military Band Service of the Armed Forces of the Russian Federation, Honored Artist of the Russian Federation, lieutenant colonel, and many others.
A separate discipline (a special instrument - brass and percussion instruments) is one of the leading ones at the Moscow Military Music School. It includes the following disciplines: "Special Instrument", "Related Instrument", "Ensemble Performance", "Pedagogical Practice". The study of these subjects makes it possible to lay very important foundations for performing activities in the orchestra.

Teachers and accompanists of a particular discipline make a great contribution to the education of the young generation of wind players. Our Suvorovites are always long-awaited guests in military units, at concert venues in Moscow, and at various national and state celebrations. Together with the artists who are the pride and glory of national and world art, the Suvorovites of the Moscow Military Music School perform on the stage of the State Academic Bolshoi Theater, the State Kremlin Palace, the Grand Hall of the P.I. Tchaikovsky Conservatory, the Concert Hall named after P.I. Central Concert Hall "Russia", on radio and television.

Military Band Service of the Armed Forces of the Russian Federation- the formation (special service) of the Armed Forces of the Russian Federation, designed to promote the spiritual and cultural development of military personnel and civilian personnel of the Armed Forces of the Russian Federation, to train qualified personnel of military conductors and musicians.

Subordinate to the General Staff of the Armed Forces of the Russian Federation.

In 1804, military bands were introduced into the Don, Black Sea, Ural and Orenburg Cossack troops. In 1804, the Baltic Fleet was determined to have 100 trumpeters, 36 musicians and 4 timpani players. By the city, the Bands of the Black Sea Fleet reach the same number as the Baltic. During 1808-1809. a large number of new guards units are being created, both infantry and cavalry, where the Decree of Alexander I provided for the presence of guards military bands of 25 people. In the Preobrazhensky Regiment, a staff of 40 people is established. The instrumental compositions of these orchestras were specified by an additional decree of April 15, 1809. The Preobrazhensky Regiment had 40 tools, and the other regiments of the guard had 25 tools. Thus, it is obvious that the orchestras have been enriched with new instruments. The predominant group in these orchestras were woodwinds (28 in an orchestra of 40 instruments and 17 in an orchestra of 25 performers). Nevertheless, three main groups of instruments were clearly identified: woodwinds, brass (with a natural scale) and percussion instruments. This type of mixed orchestra had a wide orchestral range, a variety of timbre colors and could be successfully used to perform works of the drill and concert repertoire. The French theorist J. Kastner wrote:

“In 1813, Russian music, which always retained the stamp of originality, reached such a degree of perfection that it attracted the attention of even German musicians, arousing their praise. Russian guards music had all the instruments that were in use in that era, approximately the same ones that were in use in Germany and used them when performing brilliant marches.

Along with the quantitative increase in the composition of the Guards orchestras and the enrichment of their composition with new instruments, serious efforts were made to train future military musicians. So, the task of the Training Grenadier Battalion formed in 1808, along with the training of non-commissioned officers, was also the training of "musicians, drummers and flute players". The training battalion consisted of 4 grenadier and 2 "non-ranked companies: musical and drumming".

The company that trained musicians for the troops included a bandmaster and 150 people, divided into 25 musicians in six orchestras. Especially for the signal service, drummers and flute players were trained in the "drum-cheek" company. Every year, the Training Grenadier Battalion was supposed to produce 75 musicians for the army. Trumpeters for the cavalry were trained in the Cavalry Training Squadron and other military units.

Concert and educational activities

The annual concert activity of military orchestras began in November 1813 in the hall of the Philharmonic Society of St. Petersburg, then in April 1814, and the third concert, which brought an income of 52 thousand rubles - on March 19, 1816, on the day the Russian troops entered Paris in 1814. The so-called "disabled" concerts, the proceeds of which went to war veterans, began to be held annually, until the outbreak of the First World War. They went in both capitals and other cities, in which, as a rule, consolidated orchestras took part, as well as soldier's choirs. Their repertoire invariably included works of a heroic-patriotic plan: O. Kozlovsky's polonaises, the choral play by K. Kavos "Verses of 1814", as well as works by the classics - Mozart, Gluck, Beethoven. Military bands, having gone beyond the location of their units, played a certain positive role in educating the musical taste of listeners.

Repertoire of the military band service

In the 19th century, as before, the emphasis was on the creation of marching music, intended for orchestras to perform their main service function, that is, marches. Published by the music publisher Dalmas, the 4-volume edition of 208 scores written between 1809 and 1829 was a milestone for the musical culture of Russia as a whole. There are two types of marches in the collection: quiet and fast. The authors of the marches published by G. Dalmas are: A. Dörfeldt-father (over forty marches), K. Cavos, N. Titov, O. Kozlovsky, Antonolini, D. Steibelt and others. One hundred and ten marches printed without credits of the authors. Quiet march l.-guards. Semyonovsky regiment was written by its commander, General A. Rimsky-Korsakov. The themes of the marches often became folk songs, for example, in one of A. Alyabyev’s fast marches, the soldier’s song “Along and along the river” was used. Several marches by this composer are based on folk-song intonations.

The basis of the peppy and cheerful "Paris March of 1815" by the composer is based on songs of Ukrainian folklore, where intonational connections with the song "Doshchik, Doshchik" are clearly traced.

Fast marches are more lively in nature and often include an element of dance or folk song. Several marches of this edition are similar in their meter-rhythmic structure to modern "column" marches. Several marches have operatic melodies as their themes, for example, The March of the Cavalier Guards Regiment by the composer F. A. Boildieu is built on the thematic material that the composer used in the opera The White Lady (1825).

00461 SM-^I As a manuscript

Mayakin Timofey Konstantinovich

MILITARY MUSICAL CULTURE OF RUSSIA (HISTORICAL AND CULTURAL ANALYSIS)

24.00.01 - Theory and history of culture

Nizhny Novgorod - 2010

THE WORK IS PERFORMED AT NIZHNY NOVGOROD STATE ARCHITECTURAL AND CONSTRUCTION UNIVERSITY

Scientific adviser Doctor of Philosophical Sciences, Professor Zelenoe Lev Aleksandrovich

Official opponents: Doctor of Philosophy, Professor Alexander Sergeyevich Balakshin, Candidate of Philosophy, Associate Professor Anna Nikolaevna Komarova

Lead organization

SEI HPE "Nizhny Novgorod State Pedagogical University"

The defense will take place on November 17, 2010 at 12 o'clock at a meeting of the dissertation council D 212.162.01 at the State Educational Institution of Higher Professional Education "Nizhny Novgorod State University of Architecture and Civil Engineering" at the address: 603950, Nizhny Novgorod, Ilyinskaya st., 65, bldg. 5, room 202.

The dissertation can be found in the library of the 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.

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

contributed to its holistic study. There are no works in the direct formulation of the question, and only the study of many sources makes it possible to conduct such a study and highlight certain aspects, problems, fragments.

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

The second group is represented by comprehensive works by Russian art historians on the history of music and the 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 the issues of the cultural construction of the state. As a rule, in all these works a rather detailed excursion into the history of the musical life of Russia is made. At the same time, the coverage of issues related to the development of military 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. Aleksandrov.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. philosophy Sciences. - M., 1984: Vygotsky L.S., Luria A.R. Categories and concepts of the theory of culture. - M., 1985; Dorogova L.N. Artistic culture and the formation of the personality of a warrior: dis. ... Dr. Phil. Sciences. - M., 1990; Sokolov E.V. Concepts, essence and basic functions of culture. -JI., 1989 and others.

2 See: Bronfin E.F. Musical culture of Petrograd in the first post-revolutionary five-year period: a study. - 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 band. - 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 military band service in Russia. - M., 1961, etc.

4 See: Aleksandrov 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 is made up of documents that are widely represented in the historical archives of Russia,1 also include legislative documents and acts published in different years (decrees, orders, directives, charters, instructions) that indirectly affect the problem of the development of military musical culture and made it possible to significantly supplement source base of the study.2

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

The subject of the research is the military musical culture of Russia. Considering that this subject is rather multifaceted, we single out in it 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.

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

2 See: Cavalry Charter of the Red Army. - Pg., 1920. - Ch. I-Sh; Combat Infantry Charter of the Red Army. - Pg., 1920. - Ch. I .; Charter of the garrison service of the Red Army. - Pg., 1918, etc.

3 See: Vasilevsky A.M. The work of a lifetime. - M "1974; Vsevolzhsky I.E. Prisoners of the sea. - M., 1961; Furmanov D.A. Chapaev.-M., 1961 etc.

Theoretical basis of 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 that reveal the theory of musical culture and its specific form - military musical activity. An 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 its basic principles such 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

studies of the dynamics of military musical culture depending on socio-political changes in 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 and mobilizing, ceremonial and demonstrative, national and patriotic, educational and educational, concert and theatrical.

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

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

Approbation of the 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. Separate provisions of the work were considered at the scientific-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).

Dissertation structure. The dissertation of 149 pages consists of introduction, 4 chapters, conclusion and bibliographic list, including 282 titles and 153 archival sources.

II. MAIN CONTENT OF THE WORK

The introduction substantiates the choice of topic, the object and subject of the study, defines the tasks and tasks, gives a brief review of the literature, and explains the theoretical and methodological basis of the study.

In the first chapter - "The 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 expounded on an empirical, descriptive level, this implies a generalization of the 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." The concept of "musical culture" until recently 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 deserves attention as a set of processes and phenomena of the spiritual and practical activities of society as a whole or its individual groups (ethnic, professional, age, etc.) in creating, accumulating, storing, mastering and distributing musical works. art and material values associated with music.

It must be stated that it is the activity approach that makes it possible 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, which is focused on military service activities. This dual determination determines its specificity, which is reflected both in the very historical development of military musical culture and in its empirical description and theoretical explanation.

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

The military musical culture of Russia is considered in this study as the culture of a certain professional group of society. Proceeding from this, it is presented as a set of processes and phenomena of the spiritual and practical activities of the soldiers of the Army and Navy in creating, accumulating, storing, mastering and distributing works of musical art and material values associated with the musical life of the Armed Forces.

In a narrower sense, musical culture can be defined as a set of historically conditioned social processes and phenomena of the musical life of individual strata of society or its professional groups, expressed in musical folklore and musical works. In this sense, the concept of musical culture is close to the concept of musical art, which is sometimes defined as a function of spiritual culture, presented as a set of ways of musical activity of people at different levels of the social ladder and with different levels of professional training. These methods directly serve the knowledge, training, enlightenment and rallying 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 that produce musical instruments and musical utensils, designed to provide and regulate the process of education and education.

Military musical culture, which is a reflection of the social, political and musical life of the country, along with common features characteristic of the entire musical culture of society, has a certain independence in its musical development. This is due to the peculiarities of the functioning of the armed forces of any state, which are as follows:

a) the armed forces of the state at all times have been and will be a means of politics, a means of maintaining the power of the ruling class. And this remedy is only

then it gains strength when the morale of soldiers, sailors and officers is at the proper level;

b) the vital activity of the armed forces is determined by a rigid control 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, the military musical culture performed its role. Here 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 rattling, sharp sounds of a signal pipe are heard. The sounds of both those instruments and others serve the same purpose: they call everyone to their places, inspiring and warning of imminent danger. 1

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

Changes in the foreign and domestic policy of the state, expressed in military reforms;

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 evaluating the role and significance of military musical culture, it is necessary to take into account a number of features of its formation, which were as follows:

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

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

b) the use of the means of musical art during combat 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, instructions 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 and 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 the period of hostilities;

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

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

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

Concert and theater - organization of recreation and leisure.

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

professional character. This clearly confirms that the military musical culture is an organic part of the musical culture of society and at the same time has a relative independence.

The essential properties of military musical culture are: mass character, continuity, and the ability to have a strong emotional impact. Studying the military musical culture, one can note some differences between the naval musical culture and the army. The specificity of the maritime service is due to the closed ship space, the long stay of sailors away from their native shores, and the absence of orchestras on small ships. All this brought to life the main type of musical activity of sailors - a sailor's 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 on the graves of their ancestors, singing in them the exploits of the heroes who glorified their family. Songs were composed by singers and transmitted exclusively orally, which explains the paucity of examples that have come down to our time.

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

During the XI - XII centuries. musical elements received their further distribution in military affairs. The "Word of Igor's Campaign", describing the events of 1185, says: "...trumpets are blowing in Novgorod, there are banners in Putivda." And further: “and my Kuryans, experienced knights, are twisted with pipes, rocked under helmets, fed with the end of a spear ...”.1

Both in ancient Kievan Rus, and in the subsequent Moscow principality (XIV-XV centuries), military music and the wind instruments that formed its basis occupied a prominent place. So, for example, trumpets and tambourines accompanied the gathering of the Russian troops on a campaign led by Dmitry Donskoy.

1 A word about Igor's regiment. - L., 1990. - S. 49-50.

In the 15th and 16th centuries at the court of Russian tsars and among the enlightened boyars, they increasingly began to turn to all kinds of "overseas" musical amusements. The inclination towards 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 entourage of the royal family.

The completion of the period of the birth of military musical culture is associated with the public and state activities of Peter I. In 1711, by a special decree of Peter I, the provision on the “Military choirs of music” was introduced, which legally established the status of choirs in regiments, staff structure, etc. this was the beginning of the development of the military orchestra service in Russia.The great 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 the chiefs, divorces of guards, etc. .d.

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 of military bands. In a number of regiments, two "military music choirs" were established, i.e. two orchestras. At this time, the main genre of military music - the march (ceremonial, marching), which was played at parades, reviews, campaigns, etc., was widely developed.

In the XVIII century. musical instruments become one of the varieties of military regalia, a symbol of the valor and heroism of the Russian regiments. In the list of the highest awards established in the Russian army, silver pipes and horns took third place. Awarding musical instruments in the XVIII century. firmly established in the practice of encouraging those who especially distinguished themselves in hostilities

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

So called in the XVIII 14

19th century Russian military bands

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

During the first half of the 19th century in the military bands of the Russian army, a number of important events were carried out, covering various aspects of their life: staffing, instrumental compositions, the leadership system in guard orchestras, and the training of musicians. These events consistently improved the state of the musical culture of the Army and Navy, whose numbers, due to participation in hostilities, were constantly increasing.

Of great importance for the development of military music was the invention and introduction of chromatic brass instruments into orchestras,1 which greatly expanded their artistic possibilities.

This period includes the first so-called "disabled" concerts by military bands, which were dedicated to the heroes of the Patriotic War of 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 XIX century. the soldier's and sailor's song received its 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 that sang 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 orchestras were introduced, and special military educational institutions were created to train musicians and bandmasters of the Russian Army and Navy.

By the beginning of the XX century. all the prerequisites for the formation and subsequent development of military musical culture in Russia were formed.

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

The specificity of military musical culture is historically formed on the basis of its two defining constituent elements:

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

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

The universal nature of military musical culture allows us 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-theatrical.

In the second chapter "Formation and Establishment of Professional Military Musical Education in Russia" the author focuses on the fact that military musical culture as a specific applied activity needs 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 in the Soviet period of national history. Modern Russian society continues the established traditions.

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

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

In 1919, the “Regulations and staffing on short-term courses for music instructors for the Red Army at the Educational Department of the PUR”1 were developed in order to train specialists in the following specialties: choral singing instructor, organizer of demonstrative musical conversations, instructor in folk musical instruments, instructor in wind music orchestras, conductor (regent) of choral singing. At the same time, the commanders of military units sent Red Army soldiers with good musical abilities to tests for admission to the conservatories or music schools of the People's Commissariat of Millet.2

In 1920, the organizational work for the training of military musicians was further developed in Petrograd. Order for the Petrograd Military District No. 689 dated May 8/9, 1920 ordered: “The inspector of military bands should immediately begin the formation of air defense military music courses under the Political Education Directorate, in accordance with the Regulations attached to this and the Provisional States, which shall be put into effect from 1 May 1920.”3 In addition to training musicians for military bands, the courses were the first to organize a bandmaster class for 20 cadets.

In order to streamline the work of military musical institutions and bring their curricula to uniform requirements, the Musical Bureau in 1922 developed and approved the “Regulations and States of the Petrograd and Tashkent Military Music Schools of the Red Army.”4

In 1921, for the training of musicians of naval military bands, the Musical School of the Training Detachment of the Baltic Sea Naval Forces was established in Petrograd under the Central Naval Crew,5 the 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 Order on the Fleet dated December 9, 1921 No. 181 //RGAVMF. F.R.-309.0P. 1.D.1.L.12.

The idea of the need to train bandmasters on the basis of higher musical education, put forward by such leading musicians of pre-revolutionary Russia as N.A. Rimsky-Korsakov and A.G. Rubinshtein, received its second birth thanks to A.V. Aleksandrov and V.M. Blazhevich. On their initiative, a bandmaster class was organized at the Moscow Conservatory, the opening of which marked the beginning of higher military conductor education in the USSR.

In 1930, the bandmaster's class was renamed the Military Bandmaster Department of the Performing Faculty of the Conservatory,1 which in 1932, as a result of organizational measures taken by the Moscow Conservatory,2 received the status of a military bandmaster's department. In connection with these changes, the term of study was increased to three years, and the number of students - up to 45 people.

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

The formation of a single faculty for the training of military bandmasters was entrusted to the inspector of the 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 start scheduled training sessions from January 1.”4

Along with the training of leaders of military bands, in the mid-thirties, the centralized training of musicians for army bands resumed again. On the initiative of S.A. Chernetsky, freelance musical institutions were created at that time in Moscow, Voronezh, Saratov and

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

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

3 Order on the headquarters of the Military Academy named after M.V. Frunze 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 NPO of the USSR of November 28, 1935. No. 183. //RGVA, f. 4, op. 15a, d. 414, l. 285.

* RGALI, f. 1943, on. 1, d. 221, l. 3.

were homeless teenagers. And in 1937, on the basis of orphanages of the regional departments of public education in Moscow and Leningrad, full-time schools for military musicians were opened,1 thanks to which it became possible to partially staff military orchestras with qualified musicians. Later, in the prewar period, 13 more full-time schools for military musicians 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 Musical Pupils, restored in 1937 on the basis of the Music School of the Training Detachment of the Naval Forces of the Baltic Sea.

The beginning of the training of military bandmasters specifically for the fleet was laid 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 Marine Department, and in 1940 the Naval Faculty was formed at the Leningrad Conservatory .

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

First, in the 20-30s. 20th century a harmonious system of training musicians for the Red Army and Navy orchestras was created. It included schools for musical pupils who trained musicians for military bands on the basis of specialized secondary education, as well as the Military Faculties of the Moscow and Leningrad Conservatories, which produced specialists with higher education to fill the positions of military bandmasters;

Secondly, regulations, rules for admission and curricula of these educational institutions were developed and adopted, 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 musicians. Order of the NPO of the USSR and the People's Commissariat of Education of the RSFSR of January 23, 1937. No. 7. // RGVA, f. 4, op. 15a, d.444, l. 13.

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

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

Fifthly, the system of professional training of personnel for the 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 "Official and concert activities of military bands and ensembles" the author analyzes the practical military musical activity, taking into account its many-sided functions.

When considering the social functions of military musical culture, its dual meaning is repeatedly emphasized, which found expression in its applied nature. Hence, there are two forms of its functioning: serving a variety of military service activities and mass concert activity, demonstrating the high professional level of military orchestras and ensembles.

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

Unlike all other types of orchestral performance, the playing of a military band in the ranks during military rituals is a very special kind of performing art. It is based on original, specific features that have been formed over the centuries. When playing in formation, a military band acts not only as a musical and artistic group, whose task is to perform various kinds of works, but also as a military unit, all members of which must clearly and consistently perform the necessary set of combat techniques. A complete combination of musical performance and combat skills and is 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.

specific features of the military orchestra as a performing group. This feature determines a number of other features: a certain order of arrangement of orchestral voices, the need to instill in musicians the skills to perform a piece not only on the spot, but also on the move, moreover, as a keepsake, the ability to ensure the orchestra plays in any weather and in different acoustic conditions. Thus, the musical accompaniment of rituals requires not only creative, but also military training of musicians, the development of a certain physical and performing endurance.

Along with the rituals that existed in pre-revolutionary Russia (the adoption of the military oath, the divorce of guards, the dawn of the evening, the meeting of the chiefs, etc.), new rituals appeared (the grand opening of monuments, the laying of wreaths to the fallen in battle, etc.). One of the most important military rituals was the military parade.

A comparative analysis of military parades in the pre-revolutionary and Red armies allows us to trace some successive connection in the external forms of their conduct (troop formation, meeting the host of the parade, detour and congratulations to the participants, passing in a solemn march). However, significant changes have taken place in their musical design.

A new means of organizing the musical accompaniment of the Red Army parades was the creation of consolidated military bands capable of solving the complex tasks of musical arrangement of the ritual.

The musical material performed at the parade underwent significant changes. This was due to the fact that in the 20-30s. 20th century the theme of the drill march was enriched by Soviet mass and folk songs. The musical arrangement of other military rituals has also changed. Thus, 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 emergence of new music relates to the ritual of guards' divorce.

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 combat signals acquired particular importance in the cavalry units, since the horse formations, usually dismembered, required special means for issuing commands over a long distance.

An important role in the professional activity of military bands was played not only by service, but also by concert and educational activities. From the middle of 1919, the political department of the Revvoensovbalt, with the assistance of the musical community of the city, 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-rally.

In the early 20s. in the concert practice of military bands of large garrisons, a new trend began to be seen: quite frequent performances before the urban public by consolidated brass bands. At the same time, the orchestras of units and military educational institutions were involved in work on the radio, recording records and music for films. Vigorous activity in this direction was carried out by the orchestra under the direction of V.I. Agapkin, in the performance of which in the 30s. not only marches, dance music and arrangements of popular melodies of that time were recorded, but also many compositions of the famous leader of this group.

Of great importance for the revitalization of concert activity and the improvement of the performing skills of orchestras in the 20-30s. 20th century had review competitions held both in each military district and on an all-army scale. Subsequently, such competitions have become traditional.

The concert activity of the Red Army Song and Dance Ensemble named after M.V. For their first performances, the group chose a new genre of literary and musical montage, combining musical and choral, literary and dance foundations.

Based on the above material, we can draw some conclusions:

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. 20th century new rituals appeared, as well as types of service-combat activities of military bands; musical material has undergone significant changes to ensure them;

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

Fourthly, the development of service-combat and concert activities of military bands took place with the direct participation and comprehensive assistance of prominent military leaders, as well as due to the active work of the leading musical and public figures of the country. This allowed military bands and song and dance ensembles not only to become an important link in the system of cultural and educational education of the army masses, but also to play a significant role in promoting musical culture among the general population of the country.

The fourth chapter "Development of musical amateur performances in the military environment" examines the main forms of functioning of military musical culture in the mass consciousness and behavior of society.

Like any kind of social activity, artistic, in particular, musical activity historically finds its ally in amateur performances. For example, professional sports activities are based on mass physical education; professional medical activity correlates not only with traditional medicine, but also with various forms of self-treatment;

the management activity of the society is interested in the development of all types of self-government, especially local, etc. As for amateur art, it has long been widely developed in our country in various types of art: music, painting, theater, choreography, poetry, photography, etc. Military musical culture, in turn, finds an ally in military musical amateur performances.

Along with the vigorous activity of professional musical groups, widespread among the army in the 20-30s. 20th century received all sorts of forms of amateur creativity. This was due to a number of circumstances:

Firstly, the accessibility of amateur art genres to the general public, 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-identification in the field of art;

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

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 composition spontaneously arose in its units. The urgent need to unite spontaneously emerging song groups into choir circles and studios in order to gain experience and develop methodological foundations led in 1920 to the organization of a special choir subsection as part of the Music Bureau. The tasks of the subsection included the development of instructions, lesson plans for leaders of mass

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

professional and amateur choirs, preparation of the repertoire and a set of other measures aimed at improving choral work in the 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 ...”), old soldier and city songs that were widespread in the Russian army were widely used.

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

A huge role in the process of development and propaganda of the military song was played by the creative activity of the Red Banner Red Army Song and Dance Ensemble of the USSR and its leader A.V. Aleksandrov. The repertoire of this group consisted of numerous adaptations of popular folk melodies, as well as modern soldier folklore.

The leading role in improving the directions of development and providing methodological assistance to amateur groups of the Red Army and Navy belonged to bandmasters and musicians of military orchestras. A common phenomenon was the emergence of amateur jazz and pop groups, as well as amateur symphony orchestras, on the basis of full-time 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 on the creation and implementation of new, mass genres intended for an audience of many thousands. As a result, in the 20s. mass dramatizations and literary and musical compositions were widely used, which were synthetic genres that combined such art forms as literature, theater, dance and music.

Olympiads and competitions, which gained great popularity in the 1930s, contributed to the development of amateur army activities. in various districts. The main tasks of their implementation were: checking the status

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

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

First, in the 20-30s. 20th century in the military musical culture, the main types and directions of development of amateur creativity were formed. Its mass forms prevailed;

Secondly, thanks to the amateur Red Army creativity and the involvement of professional composers and poets in the army environment, the military song was further developed, which served as the basis for the emergence of a new genre of mass song in the musical culture of the country;

Thirdly, by organizing short-term courses for instructors in various districts and involving the leading musical community of the country in club work, provision of amateur groups with leaders was established. In addition, a lot of work with the Red Army amateur performances was carried out by bandmasters and musicians of military orchestras.

Fourth, in the 20-30s. 20th century in the military musical culture, there were active processes of rapprochement and interaction between professional and amateur creativity, due to which new genres appeared that became widespread not only in the military 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 the military musical culture of Russia shows that music is not only an important factor in the patriotic and moral education of soldiers, but also an integral part of their life. Being a powerful means of military-patriotic, moral and aesthetic education of soldiers, army musical culture has had and still has a significant impact on the development of the musical life of the whole country.

Service and creative activities of A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and other musicians, organizing musical and educational, charity concerts and tour performances throughout the country with the participation of military 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 whole country.

Firstly, military musical culture is an integral part of the musical culture of the whole country as a whole, having 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 took shape and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over several centuries;

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

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

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

The conducted research makes it possible to draw certain lessons from the historical experience of the development of military musical culture. Their essence is as follows.

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. Decreased 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 essential that the armed forces have a well-organized system of training and recruiting military conductors and musicians.

In addition, for more effective activities in the field of military musical education of soldiers, it is necessary to have a well-functioning system for supplying troops with both technical means of propaganda (records, video cassettes, CDs with recordings of classical, military and modern music), as well as musical instruments, publications of musical collections of military songs, marches, popular domestic music magazines.

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

Firstly, it would be of great benefit to unite the efforts of culturologists, historians and musicologists in the study of various aspects of the development of military musical culture from the moment the regular army was born to our time;

Secondly, it is expedient to use the materials of the dissertation research in the officer training courses of the Military University and 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.

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

Other publications:

2. Mayakin, T.K. To the question of the formation and development of professional military music education in Russia (1918-1941) / T.K. conf. / Voen. dir. fak at MGK. - M., 2001. - S. 28-41.

3. Mayakin, T. K. Formation and development of the military-conductor education of the Red Army and Navy (1918-1941): study guide / T. K. Mayakin; Military dir. fak at MGK. -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 of adjuncts / Military. dir. fak at MGK. - M., 2004. -S. 60-87.

5. Mayakin, T. K. Military bands of the Red Army and Navy / T. K. Mayakin // Military Music of Russia. History and modernity. - M., Military Publishing House, 2007. - S. 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 of adjuncts and applicants / Military. institute, military conductor - M., 2009. - S. 39-50.

7. Mayakin, T. K. Military musical culture of Russia / T. K. Mayakin. -M SDPress, 2010. - 140 p.

Signed for printing - 10g, Format 60x90 1/16 Screen printing. Offset paper. Conditions.print.l. 1.5 Circulation 100 copies. Order No. 39/

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

Chapter 1. Specificity and social functions of the military musical culture of Russia.

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

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

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

Dissertation Introduction 2010, abstract on cultural studies, Mayakin, Timofey Konstantinovich

Relevance of the research topic. The specifics, structure and functions of the military musical culture of Russia largely determine the relevance of its study by the following circumstances.

Firstly, the formation of cultural studies as a complex science of culture, with all the variety of definitions of the concept of "culture", revealed at least three sets of problems that today determine its structure: 1) theory of culture, 2) history of culture, 3) applied cultural studies . Military musical culture is connected with the problems of applied cultural studies, as well as religious, moral, physical, environmental, political and legal culture. Attributing military musical culture to one of the types of cultural studies involves the study of its specificity, originality and features.

Secondly, the study of the specifics of military musical culture requires the study of its social necessity, structure, forms of manifestation, and the social functions that it performs. The analysis of these aspects is clearly insufficient in the modern culturological literature.

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

Fourthly, many years of historical experience in the development of Russian statehood has shown that the army is not only an armed force, but also a spiritual one. She gave the people such outstanding figures of culture and art as N.A. Rimsky-Korsakov, A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and others.

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

The degree of scientific development of the problem. It is regrettable 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. Consideration of the problem from a class point of view did not always contribute to its holistic study. There are no works in the direct formulation of the question, and only the study of many sources makes it possible to conduct such a study and highlight certain aspects, problems, fragments.

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

The first category includes the works of Russian culturologists of a general methodological nature, in which, to one degree or another, the problems of musical culture are touched upon theoretically1.

The second group is represented by comprehensive works by Russian art critics on the history of music and the musical culture of Russia2. In them, the problem of the development of military musical culture is considered in a general form, in connection with the issues of the cultural construction of the state. As a rule, in all these works, a rather detailed excursion into the history of musical life is carried out.

1 See: Arnoldov A.I. Man and the world of culture. - M., 1992; Vintshkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. . cand. philosophy Sciences. - M., 1984: Vygotsky U.C., Luria A.R. Categories and concepts of the theory of culture. - M., 1985; Dorogova JI.H. Artistic culture and the formation of the personality of a warrior: dis. . Dr. Phil. Sciences. - M., 1990; Sokolov E.V. Concepts, essence and basic functions of culture. - L., 1989, etc.

2 See: Bronfgm E.F. Musical culture of Petrograd in the first post-revolutionary five-year period: a study. - L., 1984; Nikitina L.D. Soviet music. History and modernity. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.

Russia. At the same time, the coverage of issues related to the development of military 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. Aleksandrov.

These works are of great scientific value and are of great importance, constituting the source base of the study. At the same time, the analysis of the presented monographs, articles, dissertations shows that the military musical culture was not the subject of independent research, and the problem of its development did not receive a sufficiently integral, generalizing coverage.

A separate group of sources is made up of documents that are widely represented in the historical archives of Russia3, and this should also include legislative documents and acts published in different years (decrees, orders, directives, charters, instructions) that indirectly affect the problem of the development of military musical culture and made it possible to significantly supplement the source research base 4.

1 See: Aksenov E.S. New in the instrumentation of the Soviet military march. - M., 1970; Matveev V.A. Russian military band. - 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 military band service in Russia. - M., 1961, etc.

2 See: Aleksandrov B.A. The song is calling. - M., 1982; Korosshelev B.E. Art born of the people. - M., 1991; Pozhdaev G.A. Red Banner Ensemble: the path of song and glory. - M., 1988; Shilov A.V. 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: Cavalry Regulations of the Red Army. - Pg., 1920. - Ch. II-III; Combat Infantry Charter of the Red Army. - Pg., 1920. - Part I; Charter of the garrison service of the Red Army. - Pg., 1918, etc.

Another group of sources is formed by memoirs, memoirs, diaries of prominent figures and cultural workers, which give 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 pieces for military orchestras and amateur groups.

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

Purpose and objectives of the study. The main purpose 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 the military-musical culture;

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

The 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. The work of a lifetime. - M., 1974; Vsevolzhsky I.E. Captives of the Sea.-M., 1961; Furmanov D.A. Chapaev.-M., 1961 and others.

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

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 that reveal the theory of musical culture and its specific form - military musical activity. An 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 its basic principles such 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 polyfunctional analysis of military-musical culture was made; the principle of determinism, which made it necessary to study the dynamics of military musical culture depending on socio-political changes in society.

Scientific novelty of the research. The paper investigates the problems that can be of scientific value for cultural studies (theory and history of culture):

First, the specifics of military musical culture as a special kind of applied culture have been clarified;

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

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

Fourthly, the 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;

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

Provisions for defense:

1. The specificity of the military musical culture of Russia, presented as a kind of applied culture of society, is determined not only by the general principles of musical creativity, but also by the peculiarities of its application and use in military service activities.

2. The specificity of the applied nature of military musical culture is determined by the peculiarities of personnel training and the content of the structure of the entire system of military musical 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, parade-demonstrative, national-patriotic, educational-educational, concert-theatrical.

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

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 the organization of 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.

Dissertation structure. The thesis 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 the musical life of the whole country.

Service and creative activity 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, charity concerts and touring performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army groups, the development of a military song that was 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 the musical life of the whole country.

Thus, the analysis of the development of military musical culture allows us to draw some generalizations and conclusions, the essence of which is as follows:

Firstly, military musical culture is an integral part of the musical culture of the whole country as a whole, which, along with common features, has the uniformity of the use of musical genres, harmonic tonalities, musical instruments, etc., and its own individual , specific features.

Thirdly, as the results of the study show, the entire personnel of the Armed Forces, regardless of 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.

First lesson. The accumulated experience shows 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 an officer and a soldier ultimately leads to a weakening of the patriotic and moral education of soldiers both in peacetime and in wartime.

Lesson four. An objective analysis shows that 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 enlighteners 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-functioning system for 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 musical collections of military songs, marches, popular domestic music magazines.

First, it would be of great benefit to unite the efforts of culturologists, historians and musicologists in the study of various aspects of the development of military musical culture from the moment the regular army was born to our time.

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

Secondly, it is necessary to publish a manual on the history of the development of military musical culture at various historical stages, for the 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.

Fourth, due to the change in political thinking in recent years, as well as the change in ideological guidelines in the minds of the soldiers of the modern Armed Forces of the Russian Federation, there is a need to supplement the sections of the lecture course program at the Department of Culture and Art of the Military University, dedicated to the artistic culture of military personnel, and in the future use the accumulated material in the course of lectures on the program of public and state training.

Fifthly, it would be expedient to return many old marches and military songs to the army and navy by publishing several new military collections of songs and marches for various branches of the Armed Forces of the Russian Federation. Their introduction into the everyday life of the Russian troops will significantly enrich not only the service repertoire of modern orchestras, but also expand the song repertoire of amateur soldier groups.

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203. Sidelnkov V.M. Russian folk art and stage. M., 1950. - 64 p.

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

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

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

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218. Cavalry drill charter of the Workers 'and Peasants' Red Army: at 3 h. Pg., 1919-1920. Part I. - 115 p. Ch. II-III. - 285 p. 242. | Combat infantry charter of the Workers 'and Peasants' Red Army: at 2 h. Pg., 1920. Part I. - 167 p. Part II. - 96 p.

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

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223. Tretyakov S. May Day March // Krasnoarmeyets. 1921.- No. 47.

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

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

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

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248. ARCHIVAL DOCUMENTS AND MATERIALS

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

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253. Op. 12. Files 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. 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 of the Navy).

262. Fund r 34 - Political Directorate 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 r 309 - Music school of the training detachment of the Naval Forces of the Baltic Sea.

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

266. Fund r - 1000 - Pacific naval 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 of Military Musical Pupils.1. Op. 1. D. 1.

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

270. Fund 1943 - Chernetsky Semyon Alexandrovich 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();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, 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 / Mayakin Timofey Konstantinovich; [Place of protection: Nizhegorsk. state architecture.-builds. un-t].- Nizhny Novgorod, 2010.- 149 p.: ill. RSL OD, 61 11-9/34

Introduction

Chapter 1. The Specificity and Social Functions of the Military Musical Culture of Russia 11

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

Chapter 3. 67

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

Conclusion 125

Bibliographic list

Introduction to work

Relevance of the research topic. The specifics, structure and functions of the military musical culture of Russia largely determine the relevance of its study by the following circumstances.

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

The degree of scientific development of the problem. It is regrettable 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. Consideration of a problem from a class point of view is not always

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

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

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

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

2 See: Bronfin E.F. The musical culture of Petrograd in the first post-revolutionary
five years: a study. - L., 1984; Nikitina L.D. Soviet music. History and modern
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 band. - 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: Aleksandrov B.A. The song is calling. - M., 1982; Korostechev B.E. Art born
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 is made up of documents that are widely represented in the historical archives of Russia, 1 also include legislative documents published in different years. And acts (decrees, orders, directives, charters, instructions) that indirectly affect the problem of the development of military musical culture and made it possible to significantly supplement the source base of the study. 2

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

Subject of study is the military musical culture of Russia. Considering that this subject is quite multifaceted, we single out in it 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 the training of military musicians and conductors.

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

2 See: Cavalry Charter of the Red Army. - Pg., 1920. - Ch. II-Sh; Combat Infantry Charter of the Red Army. - Pg., 1920. - Ch. I .; Charter of the garrison service of the Red Army. - Pg., 1918, etc. See: Vasilevsky A.M. The work of a lifetime. - 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 purpose 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 the military-musical culture;

analysis of the specifics of military musical culture as a special kind 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 that reveal the theory of musical culture and its specific form - military musical activity. An 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 its basic principles such 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

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

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

firstly, the specificity of military musical culture as a special kind of applied culture has been clarified;

secondly, it shows the social determination of military music by changes in the socio-political nature in the country;

thirdly, a system of social functions of military musical culture in public life was revealed;

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

Fifth, the features and structure of the military
musical education at the stage of its formation and subsequent stages
leniya;

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

Provisions for defense:

The specificity of the military musical culture of Russia, presented as a kind of applied culture of society, is determined not only by the general principles of musical creativity, but also by the peculiarities of its application and use in military service activities.

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

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

An analysis of the real existence of military-musical culture in the system of society reveals its main social functions: ritual-organizational,

organizational and mobilizing, ceremonial and demonstrative, national and patriotic, educational and educational, concert and theatrical.

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

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

Approbation of the 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. Separate provisions of the work were considered at the scientific-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.

Dissertation structure. The dissertation of 149 pages consists of introduction, 4 chapters, conclusion and bibliographic list, including 282 titles and 153 archival sources.

and social functions of the military musical culture of Russia

A.V. Suvorov often mentions the use of orchestras: "Music in battle is necessary and useful, and it must be the loudest." How actively the great commander used military music can be judged by his orders. In the battle of the Trebbia River, one of his orders read: “Do not use stop commands, this is not in training, but in battle: attack, chop, strike, drums, music! ... When hit, make a big cry and beat the drum hard ; music to play where it happens, but especially in the pursuit ... "2.

In the XVIII century. musical instruments become one of the varieties of military regalia, a symbol of the valor and heroism of the Russian regiments. In the list of the highest awards established in the Russian army, the awarding of silver trumpets and horns took third place. The highest insignia was the awarding of regiments with a standard (banner), then an order, and then silver trumpets. “The first awarding of pipes took place in 1739, they were awarded to one of the battalions of the Izmailovsky regiment, which distinguished itself in 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, as regimental regalia, were protected along with banners and regimental standards. Signaling on silver trumpets and horns was carried out only on especially solemn occasions in accordance with special instructions. Thus, the awarding of musical instruments in the 18th century became firmly established in the practice of rewarding regiments that particularly distinguished themselves in combat operations, which can be regarded 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 schools. 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 ordering to organize the training of officers in 17 provinces. The main reason for such close attention of the emperor and his entourage to this issue was the need for a sharp increase in the size of the army.

Especially rapid growth of the army occurred at the beginning of the 19th century. and during the Patriotic War of 1812 “If in 1800 the Russian army numbered 394 thousand people, then by 1825 the number 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 the 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. 19th 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 orchestras, and the training of musicians. These events consistently improved the state of the musical culture of the army and navy, whose numbers were constantly increasing due to participation in hostilities.

The official activity of military bands, as before, was to ensure the daily life of the troops. At the same time, military bands increasingly became directly involved 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. Thus, during the Battle of Friedland on June 2, 1807, the battalion drummer Mizdryukov “... hit the jaeger campaign, through which he gathered about 100 privates, who courageously hit the enemy arrows”1. During the Patriotic War of 1812, before the battle of Borodino, "... every time ... the brigade commander led his regiments forward with a drumbeat to meet the cavalry with bayonets."

Signal service in the 1st floor. 19th century in the troops of the Russian army, which has become widespread in the conduct of hostilities, has become even more closely connected with the organization and methods of training troops. The basic rules and methods of giving certain signals that had various purposes when performing drill techniques without weapons, with weapons, when training troops in tactical art, when performing solemn ceremonials and rites 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 into orchestras of chromatic brass instruments3, which greatly expanded their artistic possibilities.

Formation and development of professional music education in Russia

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

In the morning columns of demonstrators were heading 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 the Khodynka field in order to take part in the military parade scheduled for 16:30. Before the start of the parade, V.I. Lenin arrived at the Khodynka field. To the sounds of an oncoming march “... Ilyich began to bypass the troops. He greeted every unit, every military school, congratulated the fighters on May Day. The answer was: “Hello, Comrade Lenin! Hurray!”.2 After walking around the troops, Lenin went up to the podium and the first solemn march of the Red Army units began.

The direction of the musical arrangement of the first Soviet military parade was entrusted to Ludomir Antonovich Petkevich, the former military bandmaster of the 11th Phanagoria Dragoon Generalissimo, Prince A.V. Suvorov Regiment. According to him, in addition to the "Internationale", "Varshavyanka", "Comrades in step!" and other revolutionary songs, some marches from the pre-revolutionary repertoire of Russian military bands were also performed at the parade and workers’ demonstration: Furman’s Suvorov March, Bogdan Khmelnitsky March by an unknown author, L.A. Petkevich’s Fanfare March, etc.4

“When the passage of the troops was over, and the field began to empty,” recalls L.A. Petkevich, “without further instructions, I gave the order to the orc 71 countries to collect notes. From the podium, apparently, they noticed that the orchestra was about to leave. And then unexpectedly Vladimir Ilyich went to the orchestra. I hurried to meet him, saluted. Expressing satisfaction with the performance of the orchestra, he said: "Now the demonstrators will go, we must meet them with a march," and he quickly returned to the podium. At that time Lyudomif Antonovich did not attach much importance to this occasion, although he had never seen a demonstration after military parades before. This new tradition was initiated by V.I. Lenin.

In subsequent years, military parades were scheduled on the days of national holidays on May 1 and November 7. In addition, during the years of the Civil War, military parades were widely held 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. So on June 15, 1919, V.I. Lenin in the Kremlin hosted a military parade of the Kremlin cadets, 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, the commanders, as a rule, staged 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 strengthened by “... the play of the combined military orchestra under the direction of Comrade. Shaes, who announced the beginning of the holiday with the sounds of an oncoming march”5.

A comparative analysis of military parades in the pre-revolutionary and Red armies makes it possible 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 to the participants, passing through a solemn march1), as well as commands for commanding the troops participating in the parade.

However, significant changes are taking place in their musical design. A new means, a new form of musical accompaniment for the parades of the Red Army was the organization of consolidated military bands capable of solving the complex tasks of musical arrangement of the ritual. For the first time, the thousand-pipe combined orchestra of the Moscow garrison, headed by the head of the Military Bands Administration, 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. 20th century The thematic nature of the military march was enriched by Soviet mass and folk songs, which played an important role in shaping 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 individual song turns, or in the form of direct quotation of a particular song. This was a valuable form of popularization among the Red Army of folk and mass Soviet songs and from this point of view deserved a positive assessment3.

Significant changes also took place in the musical design of other military rituals. Thus, the pre-revolutionary music of "Dawn" was replaced by a 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 the guards' divorce. Instead of the "Big Gathering", which traditionally passed from the repertoire of the military orchestras of the Russian army and sounded for a long time during the

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 administration in Petrograd. The same work was performed by the symphony orchestra in Kronstadt, which consisted of 56 people. A. Bauer was its conductor. The performances of these groups took place at all the bases of the Baltic Fleet, and in addition, at the Onega-lake-river, Volkhov-Ilmen and Chud flotillas2.

Just as in Petrograd, the Political Directorate of the North Caucasian 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 group and its conductors were S.A. Chernetsky and L.P. Steinberg. In addition to them, touring conductors4 were also involved in the preparation of individual programs.

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.

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

Along with symphony orchestras, many brass bands also took an active part in cultural and educational work. An important role in the musical life of the country in the 1920s and 1930s was played by the Exemplary Military Orchestra of the RSFSR. 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. Zeitlin. 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, the Fifth All-Russian Congress of the Komsomol. His programs included 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 in the 19th century. outstanding Russian critic V.V. Stasov. He wrote: “Military bands are conductors not only of one military, but also of all kinds of music in the mass of the people. In the street, in a public garden, in a procession, in every folk or national celebration - who does the people always hear, if not one military band, through whom does it know anything from music, if not through it?

In the 30s. 20th century the parks of Moscow and other cities were original centers of cultural life, where the best performing forces gathered. A worthy place among them was occupied by military brass bands. Daily in the summer of the mid-1930s. in the Central Park of Culture and Leisure named after A.M. Gorky in Moscow, up to ten military bands performed on various stages.

For many years, the Exemplary Orchestra of the NKVD 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, compositions by P.I. , M.P. Mussorgsky, A.K. Glazunov, F. Chopin, R. Wagner and many other composers.

The development of musical amateur performances in the military environment

A young Cossack was killed there. Passing from mouth to mouth, from one army generation to another, the song has lived a long life. She reached the era of the Civil War. Its wide popularity among the soldiers prompted the 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 way! The red army is on the way. Hey, it's slim! It harmoniously sings a red song. Hey, that's power! This formidable force is coming. Hey, Soviet power! The power of the Soviets will never disappear. In 1924 "Hey, on the way!" was published in the collection "Songs of the Red Army", and subsequently included in the repertoire of the Red Banner Red Army 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 (“Dark nights, menacing clouds”, “Remember the glorious Kubans”) and ending with the most banal tunes (“The last day of none”, “The poor fellow died in a military hospital” ). Dozens of times paraphrased and such popular old soldiers' songs as "There was a case near Poltava", "All the guns, guns rumbled", "Varangian" and many others.

If the vast majority of old soldier folklore did not change its musical content, then many urban songs that existed in the Red Army environment underwent significant rhythm and melodic changes. Characteristic in this regard is the classic example with the song “We will boldly 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 chant was transformed into a more strong-willed, clear, rhythmically elastic pattern. In essence, a completely new song appeared, which became one of the favorites during the Civil War. Not without reason, according to D. Furmanov, the soldiers sang this song, especially its refrain, "... with the greatest enthusiasm and enthusiasm."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 appeals and slogans, oratorical appeals and posters of that era. The texts were dominated by optimistic and heroic moods, emphasizing the fearlessness and selfless courage of the defenders of the revolution. There were also motifs of sacrifice inherited from the old revolutionary songs, but on the whole cheerfulness and life-affirmation prevailed. The hero of the songs of the Civil War was the whole people. Sometimes individual participants in the battles, favorite commanders are also mentioned, "however, their images are also very generalized.

The common features of the music of the first Soviet songs are masculinity, invocation, a daring or stern, but cheerful character. The most common genres among them are the hymn-march, marching song and ditty. Intonational sources are diverse: these are revolutionary hymns, and folk soldiers' songs, and urban household music, but they are all subordinate to the oratorically clear manner of pronunciation and the decisive marching rhythm of the draft hymn or marching song.

Despite the fact that many of the songs created in this way enjoyed great love and were widely used in the Red Army environment, the predominance of old melodies in the repertoire of the Red Army was rebuffed by the political departments. Of particular displeasure was 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: “A revolutionary song that inspires the soldiers of the revolution to great deeds must be heard. New songs of struggle and joy must replace ... the songs of restaurants and booths, ... the 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 huge amount of work in the localities aimed at supporting the creative initiative of the masses in creating new songs. In this regard, the poems of fighters and commanders, often far from poetic perfection, but truthful, warmed by a patriotic feeling, full of implacable hatred for the enemy, were published in army newspapers.

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

So, in 1923, about 200 works were received from parts of the Ural and North Caucasian military districts alone, which were “... transferred to Gosmuzizdat for recall and further use”1.

It should be noted that the publication of songbooks, compiled from the works of the 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 train. It was intended as "... an expensive gift for a 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 renewal of old melodies and the creation of amateur songs, the first works created by professional composers and writers begin to appear in the Red Army units. The merit of the appearance of one of the first such songs, which later gained immense popularity not only in the army environment, but throughout the country, belongs to Dm.Ya.

Its creation was dedicated to the liberation in January 1920 by parts of the First Cavalry Army of Rostov-on-Don, where at that time both authors worked in the local variety theater. 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 enrolled 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

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

Head of the Military Orchestra Service - Chief Military Conductor Colonel Timofei Mayakin. Photo by Nadezhda Tikhomirova.

Colonel Timofey Mayakin, head of the Military Band Service of the Armed Forces of the Russian Federation, tells 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 of the Russian Federation lives today.

– Timofei Konstantinovich, we can say that the spring-summer time for military musicians is the most intense in terms of the number of performances. On May 19, the Military Bands in the Parks season began in Moscow and will continue until August 18. From August 24 to September 2, the capital will delight the XI Spasskaya Tower International Military Music Festival…
– In fact, for our military bands, the whole year is hot. But first, let me tell you about the events you mentioned. These are significant cultural milestones not only for our country.
The opening of the Spasskaya Tower festival precedes a spectacular and truly beautiful project, which has become a bright spring-summer sign of the cultural and social life of Moscow. The idea of performing military bands in the parks and squares of the capital was suggested by the citizens themselves, who asked to resume the once popular performances of military bands in city parks and squares on weekends. And the directorate of the Spasskaya Tower International Military Music Festival, with the support of the Ministry of Defense of the Russian Federation and the Government of Moscow, began and successfully continues to work on the revival of this wonderful tradition.
For the first time, the Military Bands in the Parks program was implemented by the Directorate of the Spasskaya Tower Festival in 2016 on the territory of VDNKh. The performances of 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 bands of our country take part in the performances. The Military Band Service of the Armed Forces of the Russian Federation forms and approves the project program directly. It should be noted that this year the program "Military Bands in the Parks" is complemented by performances of dance couples - participants in the "Moscow Longevity" project, which is being implemented by the Department of Culture of the capital. Another feature of this year was the participation of volunteers of the Moscow Cultural Center "Park Novoslobodsky" in the action. In total, thirteen Moscow parks and squares were involved in the Military Bands in Parks program in 2018.

Military bands, the creative divisions of our army, are always on alert

Ritual at the walls of the ancient Kremlin.

The first open concert of military musicians was held on May 19 in the Alexander Garden. The military exemplary band of the guard of honor, the military band of the 154th separate commandant's Preobrazhensky regiment and the band of the Suvorovites of the Moscow Military Music School named after Lieutenant General Khalilov took part in it. On the same day, our musicians also performed at Borovitskaya and Manezhnaya squares. On May 26, the second concert of the season took place in the Victory Park. A musical celebration for residents and guests of the capital unfolded 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 Ministry of Defense of Russia 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 were held as part of the celebration of Children's Day. The Presidential Band of the Commandant's Service of the Moscow Kremlin of the Federal Security Service of the Russian Federation performed in the Alexander Garden near the Italian Grotto. The Military Orchestra of the Military University of the Russian Ministry of Defense presented its concert program in Muzeon Park on Krymskaya Embankment near the “dry” fountain. On June 9, in Sokolniki Park, he performed again - already on the main alley of the park - the Rotunda stage. On June 16, in the Hermitage Moscow City Garden, a master class was given by the Central Military Band of the Russian Ministry of Defense. The entire program of performances, information about the teams taking part in them, is posted on the official website of the Spasskaya Tower festival.
I must say that at all concerts the orchestras perform with a unique repertoire. It harmoniously combines the melodies of the past, beloved by many, 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 guests of the city are waiting for ten evenings of a unique musical performance, which will take place on the main square of the country near the walls of the Kremlin, in the heart of the Russian capital.
- And what is the peculiarity of the current performances of the "Spasskaya Tower"? Who will take part this time? And did the sanctions affect the composition of teams from abroad?
– Military music can be considered one of the best diplomats. She has no boundaries. This is a unique, perfect tool for intercultural dialogue. And we've never had a problem with international representation on this world's youngest military tattoo. From the moment he appeared
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 music 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 Armed Forces of the Russian Federation is successfully continuing this project.
This year, as always, on Red Square you can again see a spectacular performance. There will be performances by the best Russian and foreign military orchestra and creative groups. It will be an enchanting theatrical performance with light installations and grandiose fireworks every evening.

Music change.

The geography of the countries participating in the festival traditionally covers all parts of the world. This year, the Imperial Youth Band from the city of Brentwood in the UK, the Carabinieri Band of the Prince of the Principality of Monaco, the unique band on bicycles "Crescendo" from the Netherlands, the band of the Royal Guard of Oman, the Corps of "Old Grenadiers of Geneva" from Switzerland, the military band of Sri - Lanka, as well as the International Celtic Bagpipe and Drum Orchestra. A number of ensembles 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 daytime performance.

To date, 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, a horse show at a special arena will also be very interesting. Performances here by the Cavalry Honorary Escort of the Presidential Regiment of the Commandant's Service of the Moscow Kremlin of the Federal Security Service of the Russian Federation and representatives of the equestrian club "Kremlin Riding School" have become an integral part of the socially oriented cultural life of the festival. I note that over 10 years there have been more than 200 performances, which were attended by hundreds of thousands of people. The grandiose show program, which the Kremlin Riding School has been preparing for many years, is always very bright and original, it includes performances not only by Russian, but also by well-known foreign groups.
The well-loved Spasskaya Tower for Children program, which includes an annual competition of children's and youth brass bands, and a review of children's guards of honor from various regions of Russia, will also be further developed. And in the themed tents of the Children's Town, exhibitions, master classes, competitions, relay races and games will be held daily, which everyone can visit absolutely freely.
- At the beginning of the conversation, you noticed that military musicians have an extremely full year of performances. How many bands in the Military Band Service perform the corresponding tasks?
– To date, we have more than two hundred orchestras with a total number of about four thousand people. Yes, there is a lot of work, because, as usual, military musicians are in demand at all significant state events. And not only. Both in our country and abroad, there are many large-scale festivals of military bands. 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 specialty, a certain manner of performance developed by it. Music is a constant work, a search for that individuality of performance that distinguishes one group from another. And we must not forget: our activities are closely connected with the life of the troops. Military conductors also work with amateur performances in local military units. It is their official duty to provide methodological assistance and help discover talents among military personnel and their families. And, if possible, involve them in the concert activities of their orchestras.
– What is the structure of the Military Band Service?
– The structure of the Military Band Service includes: the governing body of the Military Band Service, the Central Military Band, the Military Exemplary Band (of the Guard of Honor), the Rimsky-Korsakov Central Concert Exemplary Band of the Navy, 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. These are 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 a nutshell, how is your work structured?
- Firstly, there is an annual audit of orchestral services in the field. For this, a special commission is being created, headed by the head of the Military Band Service. But besides this, for professional growth, there are also competitions of military bands on an all-army scale. They are held every five years in two rounds. This year, the first, qualifying, started in February in Moscow and ended on March 12 in the Northern Fleet. During this time, military musicians from the Western, Eastern, Central and Southern districts have 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 Spasskaya Tower International Military Music Festival will be held.
– And what should the orchestras show during the annual inspection?
- At least two new concert programs, each lasting up to an hour, and a parade-concert should be prepared for the arrival of the commission. Each orchestra is obliged to perform the National Anthem of the Russian Federation and the following works: Glinka's "Glory", Pavlov's "Setting the Guards", Chernetsky's "Red Dawn", two drill marches and two "Countermarches". In addition, works of the concert repertoire are listened to, which should include transcriptions of works by domestic and foreign classical composers, as well as original compositions for a brass band. The check ends with the performance of the concert parade program. It is important to note that during the audit we do not only evaluate the level of preparation of the orchestra. Our task is to provide methodological assistance to military conductors, including in the formation of the musical repertoire, conducting orchestral classes and individual training of musicians.
– And what other activities, besides checking the work of orchestras on the ground, does the Military Orchestra Service have anything to do with?
- Of course, this is the musical support for military parades by May 9 - on Red Square, in hero cities, cities of military glory. In all other cities where parades are held.
If we take the festival activities, then the VII International Military Music Festival "Amur Waves" was recently held in Khabarovsk. It was attended by military bands from Russia, Kazakhstan, Mongolia and an orchestra of Celtic bagpipes and drums, representing the European Union. Recently, the VII International Festival of Brass Bands named after Vasily Agapkin and Ilya Shatrov ended in Tambov. Six orchestras from different cities of the country performed at it, including the Central Military Band of the Russian Ministry of Defense, military brass bands of military units 54607 and 31969 stationed in Tambov. Tambov musicians also worked with them - the Governor's Brass Band of the Tambov Region and the Agapkin Brass Band. As part of the festival, a monument to military conductor Lieutenant General Valery Mikhailovich Khalilov was unveiled. The monument is made in full growth and installed on a granite pedestal, decorated with fanfares. It was placed in the center of the city not far from the monument to military musicians Vasily Agapkin and Ilya Shatrov. The author of all compositions is the Moscow sculptor Alexander Mironov.
The Central Military Band will perform from June 28 to July 5 in Armenia as well. In September last year, our military musicians already participated in the first annual interstate festival Russia-Armenia "The main thing is to serve the Fatherland." It is organized by the International Arno Babajanyan Memorial Foundation with the support of the Ministries of Defense of Russia and Armenia. After that, our military band is waiting at its festival for the city of the first fireworks, the city of military glory Belgorod.
Not far off is the musical support of the main naval parade in St. Petersburg to mark the Day of the Navy.
From July 30 to August 5, the Central Military Band will perform at the International Military Music Festival in Hamina, Finland.
We have already talked about the Spasskaya Tower. And in the period 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 the old bard song of Vladimir Vasiliev there are such words: “My orchestra is leaving, but the sounds are catching up, the boys will run after the music.” Do you think they are relevant today?

Here are the talents.

Let the facts speak for me. Since the holding of military music festivals, for example, in Khabarovsk and Tambov, the number of teenagers who study at 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 that military music has become fate and love forever. They are its faithful successors and keepers. And the competition among those entering the school is very serious.

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Timofey Mayakin is the chief military conductor of the Russian Federation. Military Musical Culture of Russia: Historical and Cultural Analysis Mayakin, Timofey Konstantinovich

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Repertoire of the military band service

Dissertation Introduction 2010, abstract on cultural studies, Mayakin, Timofey Konstantinovich

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

List of scientific literature Mayakin, Timofey Konstantinovich, dissertation on "Theory and History of Culture"

and social functions of the military musical culture of Russia

Formation and development of professional music education in Russia

Service and concert activities of military bands and ensembles

The development of musical amateur performances in the military environment

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

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