Lullabies of Tuvinians of Bay-Tayga

The purpose of the article is to characterize the lullabies of Tuvinians of the Bay-Tayga district located in the West of the Republic of Tuva. The study is in line with the dialect-local approach to the study of Tuvinian musical culture initiated by G. B. Sychenko. The relevance of the research is due to the introduction for scientific use texts and musical transcripts of the five lullabies recorded during the folklore-ethnographic expedition of the Institute of Philology of SB RAS in 2001. The notifications of the Bay-Tayga lullabies and their ethnomusicologic interpretation are published for the first time in the scientific literature. In 1964 in the book “Tuvinian folk music” by A. Aksenov revealed the existence of two types of lullabies: melodic recitati urug opeylear ‘rocking the baby' and singing a lullaby opey yry ‘lullaby songs'. These terms are basic in different districts of Tuva and in recent years, as evidenced by the expeditionary studies of the Novosibirsk etnomusicologists. Collected materials made it possible to get an idea of the local lullaby traditions of Tuva. The participants of the Bay-Tayga expedition fixed terms opey yry 'lullaby songs' and opey khomey 'lullaby throat singing'. Despite the small number of samples of the Bay-Tayga lullabies considered in the article, they represent a tradition in a variety. One sample is executed in melodic recitative, and four others are a lullaby type songs. In addition to vocal intonation, they use recitation, poetic speech, as well as throat singing and the reception of shaking of tongue. The poetic text of a lullaby rocking him to sleep is based on the repetition of certain words (opey and its analogs), the chants are virtually absent. The poetic text of lullabies of song type can be more developed. In the structure there is a noticeable trend toward greater orderliness in the composite (an attraction to the insurance building) and in rhythmic terms (the pursuit of ravesloot verses), to a specific position of the insertion of syllables. The scales of lullabies are narrow volumes. It is based on the pentatonic scale of the two structural types e-G-a-h-d² and e e-g-A-h-cis². Final levels are G and A. The article notes the correspond-dence of the structure and functionality of the two types of scales. In the style of the music we find the melody and rhythm of model tunes of folk songs kozhamyk, tremoliere characteristic of pastoral plots, and throat singing, which constitutes a special reservoir of musical traditions of Tuva. This indicates that the genre of lullabies accumulates separate elements from different genre components of the intonational culture of ethnos, so that there is a kind of acquaintance of the child with the traditional sound world.

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