Abstract: The article considers the notion of “genre”. The author uses the set of vocal items to demonstrate the principles of folkloric material classification.  The author enumerates the factors influencing on confinedness and non-confinedness of the material and the dependence of defining the elements composing the genre traits in the field of study. The author also considers the research of other scholars in the field and cites the key findings of such scholars as I.I. Zemtsovsky, Yu.N. Tynjanov, A.N. Veselovsky, G.N. Pospelov, Yu. G. Kruglov, F.A. Rubtsov, V.L. Goshovsky, E.V. Gippius, V.A. Lapin, E.A. Dorokhova, O.A. Pashina. The author notes the most popular interpretation of the criteria of evaluating folkloric vocal items proposed by E.V. Gippius. The scientific novelty of the study consists in the fact that the author corroborates theoretical materials in the field of genre studies with the musical materials of the local tradition of Astrakhan region. The problem is that at the current stage of scientific development, there is a plethora of opinions of scientists basing on the data typical for a particular territory and a particular tradition. Thus, the set of elements under consideration is often varying and incomparable. Therefore, using local materials, scholars can work on their own arguments proving their hypotheses.
 

Abstract: The article describes different variants of the song folklore functioning and its relation to various genre groups. So, many researchers mark the need to take into account all the components of a particular example under study (in this case –  songs). The article discusses the approaches to the study of folklore of such scientists as V.E. Gusev, I.I. Zemtsovskiy, E.V. Gippius and Z.V. Evald, Z.Y. Mozheyko, G.Ya. Sysoev, Yu. G. Kruglov.  The main direction of the study of song folklore is a comprehensive analysis of the material, as the song contains not only a text and melody, it may include other elements of folklore, such as choreography, instruments, etc. The other mandatory element of the tradition is functional application of folk art, namely the existence of sound design in the ritual or outside it. Such elements are fundamental for the analysis of the song material. For it is unacceptable to consider the rhythmic formula without taking into account the performer’s interpretation, intonation and structural specifics of the song, and vice versa. In addition, each sample of folk music should be confirmed with a multiple performance, in the repertoire of both an ensemble of the studied tradition and a solo artist. All of that contributes to formation of more accurate conclusions of the work, on the basis of which it is possible to identify typical formulas which characterize a song culture of the local tradition. On the basis of the considered approaches to the study of the song samples of folk music, the article proposes a classification of the round dance genre of Russian villages of the Volga Delta depending on the ways of their implementation.

Abstract: The article describes different variants of the song folklore functioning and its relation to various genre groups. So, many researchers mark the need to take into account all the components of a particular example under study (in this case –  songs). The article discusses the approaches to the study of folklore of such scientists as V.E. Gusev, I.I. Zemtsovskiy, E.V. Gippius and Z.V. Evald, Z.Y. Mozheyko, G.Ya. Sysoev, Yu. G. Kruglov.  The main direction of the study of song folklore is a comprehensive analysis of the material, as the song contains not only a text and melody, it may include other elements of folklore, such as choreography, instruments, etc. The other mandatory element of the tradition is functional application of folk art, namely the existence of sound design in the ritual or outside it. Such elements are fundamental for the analysis of the song material. For it is unacceptable to consider the rhythmic formula without taking into account the performer’s interpretation, intonation and structural specifics of the song, and vice versa. In addition, each sample of folk music should be confirmed with a multiple performance, in the repertoire of both an ensemble of the studied tradition and a solo artist. All of that contributes to formation of more accurate conclusions of the work, on the basis of which it is possible to identify typical formulas which characterize a song culture of the local tradition. On the basis of the considered approaches to the study of the song samples of folk music, the article proposes a classification of the round dance genre of Russian villages of the Volga Delta depending on the ways of their implementation.

Abstract: In her article Ivanova analyzes one of the singing genre typical for Russian settlements of the Volga Delta of the Astrakhan Region, the round-the-clock song. The author analyzes specific features of the lyrical plot in the round-the-clock songs as the system of events and actions defining the dramaturgy of the round-the-clock action. Ivanova underlines that in folklore the plot reflects the collective conciousness that rules certain processes in life. As an example, the researcher analyzes materials recorded during her field researches in Volodarsky, Kamyzyasky and Limansky districts of the Astrakhan Region. The author of the article makes an attempt to carry out an integral analysis of this phenomenon based on the analysis of field research materials. These materials are analyzed for the first time in the academic literature which causes the novelty of the research. As a conclusion, the author defines the main genre features of the round-the-clock song in general and the round-the-clock songs with lyrical plots. These feature sinclude refrains, solo parts, step or dance movements when the song is being performed, and use of such songs in calendar rituals. 

Abstract: In her article Ivanova analyzes one of the singing genre typical for Russian settlements of the Volga Delta of the Astrakhan Region, the round-the-clock song. The author analyzes specific features of the lyrical plot in the round-the-clock songs as the system of events and actions defining the dramaturgy of the round-the-clock action. Ivanova underlines that in folklore the plot reflects the collective conciousness that rules certain processes in life. As an example, the researcher analyzes materials recorded during her field researches in Volodarsky, Kamyzyasky and Limansky districts of the Astrakhan Region. The author of the article makes an attempt to carry out an integral analysis of this phenomenon based on the analysis of field research materials. These materials are analyzed for the first time in the academic literature which causes the novelty of the research. As a conclusion, the author defines the main genre features of the round-the-clock song in general and the round-the-clock songs with lyrical plots. These feature sinclude refrains, solo parts, step or dance movements when the song is being performed, and use of such songs in calendar rituals. 

Abstract: The object of the present reserach is the genre of the round-the-clock song popular in the territory of Russian settlements of the Volga delta in the Astrakhan Region. In her research Ivanova anlayzes a particular content constant of such songs which is a household plot that was discovered in the greater part of songs recorded during the field research. The author pays special attention to the balance between text and music in traditional round-the-clock songs as an essential element of Russian action folklore. As a rule, household plots contain a story told through singing. It is a story about uneasy life of plain people or an individual. The research is based on songs recorded in the Kamyzyaksy and Limansky districts of the Astrakhan Region. The author of the article applies the integral approach to studying the round-the-clock song when it is being studied from different methodological bases. However, the main method used by the author in her research is the analysis of music-and-song content. The novelty and rationale of the research are caused by the fact that the author presents the field research material dencoded by the author of the article on her own and introduced by some folklore bands. Noteworthy that all songs studied by the author have the same typical round-the-clock genre features. The main features are refrain, circled solo tune, step movement during performance, and functional attribution of each song to a particular ritual, calendar or wedding rite. 

Abstract: The object of the present reserach is the genre of the round-the-clock song popular in the territory of Russian settlements of the Volga delta in the Astrakhan Region. In her research Ivanova anlayzes a particular content constant of such songs which is a household plot that was discovered in the greater part of songs recorded during the field research. The author pays special attention to the balance between text and music in traditional round-the-clock songs as an essential element of Russian action folklore. As a rule, household plots contain a story told through singing. It is a story about uneasy life of plain people or an individual. The research is based on songs recorded in the Kamyzyaksy and Limansky districts of the Astrakhan Region. The author of the article applies the integral approach to studying the round-the-clock song when it is being studied from different methodological bases. However, the main method used by the author in her research is the analysis of music-and-song content. The novelty and rationale of the research are caused by the fact that the author presents the field research material dencoded by the author of the article on her own and introduced by some folklore bands. Noteworthy that all songs studied by the author have the same typical round-the-clock genre features. The main features are refrain, circled solo tune, step movement during performance, and functional attribution of each song to a particular ritual, calendar or wedding rite.