Presentation on the topic of the Russian folk instrument balalaika. The history of the origin of the balalaika goes back centuries. There is a large number of documents and information about the origin of the instrument. Why do the strings break?

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Municipal government educational institution secondary school with in-depth study of individual subjects in the town of Demyanovo, Podosinovsky district, Kirov region

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Balalaika is a Russian folk three-stringed plucked musical instrument with a triangular, slightly curved (in the 18th-19th centuries also oval) wooden body. The sound is clear, but soft. The most common techniques for producing sound: rattling, pizzicato, vibrato, tremolo, rolls, guitar techniques.

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Let's look at dictionaries and books... “...When and by whom the balalaika was invented is unknown...” (Encyclopedic Dictionary of Brockhaus and Efron, 1891) “The balalaika is a musical instrument with frets, but mostly with two strings.” (Dictionary of the Russian Academy in alphabetical order of arrangement, part I - St. Petersburg, 1806) “This instrument is in great use in Russia... among the common people.” (A pocket book for music lovers for the year 1795.)

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When and where did the balalaika come to us? Historians and musicologists are still arguing about the origins of the balalaika. There are a number of assumptions: the ancestor of the Russian balalaika is the Kazakh dombra or Russian domra; balalaika is a native Russian instrument; The balalaika is an instrument of Tatar origin.

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Scientists believe that the balalaika owes its appearance to the rule of the Golden Horde and is a modified Kazakh dombra (a two-stringed plucked musical instrument). Zabolotsky P.E. Boy with a balalaika 1st guess: dombra and domra are the ancestors of the balalaika. Dombra

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Domra and dombra Domra is a Ukrainian folk three-stringed or four-stringed musical instrument. Dombra Domra It is very likely that domra, which still exists among the Kalmyks (under the name domra), and among the Tatars and Kyrgyz (under the names domra, dombra, dunbura, dumbra), was brought to Russia during the Mongol yoke.

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During its infancy, the balalaika had the shape of a domra, i.e. oval body and long neck. Russian origin can only be attributed to the triangular outline of the balalaika’s body, which replaced the round shape of the domra. People gave a different shape to the body of the instrument, not for acoustic purposes, but for less difficulties during “homemade construction.” Folk performer with a balalaika with a round body. Early 19th century

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Assumption 2: the balalaika is a native Russian instrument. Scientists believe that the balalaika was invented by folk craftsmen at the end of the 17th century. The invention of the first balalaika is attributed to serfs, who supposedly wanted to somehow brighten up their powerless, joyless existence under the rule of the landowner. Scenes from Russian folk life of the early 19th century

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The name “balalaika”, sometimes found in the form “balabaika”, is a folk name, probably given to the instrument in imitation of the strumming, “balakan” of the strings during playing. The root of the word “balalaika” has long attracted the attention of researchers due to its relationship with such Russian words as “balakat”, “joking”, “balabonit”, which means in the popular dialect to chatter, empty calls. Folk balalaika of the late 19th century Lithograph 1820

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Some scientists attribute the word "balalaika" to Tatar origin. They believe that the words “balakat”, “joking”, “balabonit” obviously came from the Tatar words bala - child, balalar - children. All these concepts, complementing each other, convey the essence of the balalaika - a light, funny, “strumming”, not very serious instrument. Assumption 3: the balalaika is an instrument of Tatar origin.

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The first mentions of the balalaika The word “balalaika” is first found in written monuments from the reign of Peter I. The first written mention of the balalaika is contained in a document dated June 13, 1688 - “Memory from the Streletsky Prikaz to the Little Russian Prikaz,” which, among other things, states: that in Moscow, to the Streletsky Prikaz, “the townsman Savka Fedorov and the peasant Ivashko Dmitriev were brought, and with them a balalaika was brought so that they rode on a carriage horse in a cart, sang songs and played with that balalaika...”. The next written source that mentions the balalaika is the “Register” signed by Peter I, dating back to 1715: in St. Petersburg, during the celebration of a comic wedding organized by order of the tsar, in addition to other instruments carried by the mummers, four balalaikas were named.

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“This instrument is in great use in Russia... among the common people.” By the end of the 18th century, the balalaika firmly gained widespread public recognition and became one of the most popular instruments of the Russian people. The balalaika plays, I hear my dear one coming, And my heart skips a beat - she sings songs about me.

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By the mid-19th century, the balalaika became very popular in many places in Russia. Balalaika became the main guest of folk holidays and festivities; lively buffoon songs and folk ditties were performed to her accompaniment. The peasants accompanied folk dance songs on it. And buffoons, playing the balalaika, amused people at fairs and in taverns. Sokolov P.P. At the gate.

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The people's favorite The popularity of the balalaika in the second half of the 18th century is also indicated by the fact that among its lovers there were many representatives of the “upper class”. The balalaika was played not only by village boys, but also by serious court musicians. Khandoshkin Ivan Evstafievich (1747-1804) - Russian violinist, composer, conductor, teacher, collector of folk songs. Since the beginning of the 60s. chamber musician at the court in St. Petersburg. The founder of the Russian violin school, the largest virtuoso of the 2nd half of the 18th century. Khandoshkin was famous as an improviser and performer of Russian folk songs. In him, not only the violin, but also the balalaika found a perfect performer, an unsurpassed virtuoso.

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“Voice-voiced rivals” At the beginning of the 19th century, the popularity of the balalaika was dealt a blow. The seven-string guitar and accordion spread in Russia, which gradually replaced it. Tula accordion V.I. Surikov. With a guitar

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The rebirth of the balalaika Russian nobleman Vasily Andreev, an expert in folk instruments, while traveling in 1883, heard a balalaika from his yard servant, the sound of which amazed him. Andreev not only learned to play it, but also became a virtuoso balalaika player. Vasily Vasilievich Andreev 1861-1918

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Andreev learned to play the balalaika from the rural virtuoso serf Antip Vasilyev in 1883. This is what V.V. Andreev said, remembering this. “It was a quiet June evening. I sat on the terrace and enjoyed the silence of the village evening. Suddenly, completely unexpectedly, I heard sounds that were still unknown to me. I jumped up and ran to the outbuilding, where the sounds were coming from. In front of me, on the steps of the porch, a peasant was sitting and playing the... balalaika!... I had already seen this instrument before in small shops on the windows, but had never heard it played. I was amazed by the rhythmicity and originality of the playing method and could not understand how such a poor-looking, imperfect instrument with only three strings could produce so many sounds.” Antip Vasiliev

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Studying the balalaika A young musician-enthusiast gets acquainted with the laws of acoustics, studies Russian and foreign studies on the history of making musical instruments, collects and studies samples of handicraft balalaikas from various provinces of Russia. He is amazed by the variety of forms of folk balalaikas. Andreev was especially interested in the balalaikas of the Vyatka province. There, in the wilderness of the Vyatka forests, traditions have been preserved that go back almost to the end of the 18th century. Vyatka balalaikas, with their round, or rather, hemispherical body, very much reminded Andreev of mandolins. However, they were played with the usual folk balalaika technique - rattling.

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Improved instrument Andreev decided to improve this instrument and return it to the people. He succeeded. In the 1880s, Andreev, together with masters Franz Stanislavovich Paserbsky (instrument maker) and Semyon Ivanovich Nalimov (carpenter), improved the balalaika: They changed the shape. One round resonator hole replaced several, located in a star shape. Improved resonance properties. The balalaika's strings were replaced with violin and guitar strings. Added a third string. The balalaika spread again in Russia and won love.

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A circle of lovers of playing the balalaika The year 1886, when Andreev’s first public performance took place, can be safely called the year of the second birth of the balalaika, and the period of Andreev’s active creative activity is the beginning of the heyday of national instrumental music. The sound of the balalaika alone no longer satisfies Andreev. In an effort to revive the folklore traditions of collective performance on folk instruments, he created the “Circle of Balalaika Lovers”, the first performance of which took place on March 20, 1888. It was for this ensemble that in 1887 F.S. Paserbsky made varieties of balalaika: piccolo, alto, bass, double bass, and in 1888 - treble and tenor.

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Music project "Russian folk instrument balalaika" Completed by: Anastasia Glazovskaya, 3rd grade student of MBOU "Secondary School No. 1" Khanymey village Supervisor: music teacher German Galina Aleksandrovna

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Project goal: to expand knowledge about the musical instrument balalaika Tasks: searching for information and processing it; studying methodological literature about the history of the emergence and use of the balalaika in the life of the Russian people; receiving individual consultations from the project manager; searching for information about balalaika musicians; fulfillment of tasks given by the project manager; compiling a crossword puzzle “Russian folk instruments”; creating a presentation “Russian folk instrument balalaika; project protection

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The relevance of the chosen topic is due to the fact that modern children are less and less interested in the customs and traditions of the Russian people, that people forget about their cultural heritage, their music and musical instruments, without which it was once impossible to imagine the life of Russian people. I consider it necessary to introduce the children of my class and school to the history of the appearance of the balalaika through my research. The hypothesis has its own characteristics. I made the assumption that if I learn and talk about the balalaika and the history of its development, then the students in my class will learn more about the Russian musical instrument, their horizons in the field of musical art will expand, their interest in the subject “music” at school will increase, and maybe even they will have a desire to learn how to play the balalaika. Problems. I found a lot of interesting information on the topic of the project. But I still don’t know how to process and highlight the main thing. I lacked the necessary knowledge and computer skills to work on the presentation, and therefore had to turn to the project manager and my parents for help. My interest in Russian folk instruments arose when, during holiday concerts at our school, I noticed that almost all the children were interested in modern music and choreography. And few people are interested in folk music.

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Historical information There is no exact information about when and by whom the balalaika was invented. There are different versions about the appearance of the balalaika. The balalaika, like the whistle, bagpipes, gusli, etc., is revered as one of the oldest musical instruments, as evidenced by the Arab historian Ibn-Fatslan, who visited Volga Bulgaria as an ambassador in 921 and saw how the visiting “Russians” buried their prince. According to pagan custom, in the grave of the deceased, among other things, they put: “a strong drink, fruits and a musical instrument” - “eine Laute”, in Fran’s translation, according to A. Kotlyarevsky - “balalaika”, so that, according to pagan beliefs in the afterlife, Even in the next world he could enjoy playing the instrument he loved during his life. There is also such information about the origin of the balalaika that in the 17th century, during the performances of buffoons, they acquired an unusual instrument. They were made from a dried pumpkin, to which a stick was tied, and instead of two strings, horsehair was stretched. The stick, which acted as a vulture, had sills made from animal veins. Later, the balalaika was “a long two-stringed instrument, had a body about one and a half spans long (about 27 cm) and one span wide (about 18 cm) and a neck (neck) at least four times longer” (M. Guthrie, "Dissertation on Russian antiquities").

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Painting by P. E. Zabolotsky “Boy with a Balalaika” (1835). The shape of the balalaika's body was originally round

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By the end of the 18th century, the balalaika firmly gained wide public recognition and became one of the most popular instruments of the Russian people. Apparently, the compilers of the musical dictionary “Pocket Book for 1795” had sufficient grounds to assert that “this instrument is in great use in Russia ... among the common people.” The popularity of the balalaika in the second half of the 18th century is also indicated by the fact that among its lovers there were many representatives of the “upper class”. All this contributed to the emergence of true masters of balalaika performance from among Russian musicians. Among such masters, first of all, Ivan Evstafievich Khandoshkin (1747-1804) should be included. In him the balalaika found a perfect performer, an unsurpassed virtuoso. The balalaika was given a new life by the Russian musician, organizer and director of the first folk instrument orchestra in the history of Russia (1888), composer, virtuoso balalaika player Vasily Vasilyevich Andreev.

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The famous balalaika musician V.V. Andreev V.V. Andreev decided to give a new life to the common folk instrument: to bring it to concert halls. He decided to first improve the balalaika. According to his instructions, the craftsmen made changes in its design, and in addition they created not just one instrument, but a whole family: large and small balalaikas, which, depending on their size, were called piccolo, prima, second, viola, bass and double bass. Andreev played a balalaika of this design and gave solo concerts. In 1887, he organized the “Circle of Balalaika Lovers” in St. Petersburg, and 9 years later this circle was transformed into the Great Russian Orchestra.

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Where does this name come from - balalaika? The root of the words “balalaika”, or, as it was also called, “balabaika”, has long attracted the attention of researchers due to its kinship with such Russian words as balakat, balabonit, balabolit, balagurit, which means to talk about something insignificant, chatter, razzle-dazzle, idle talk , scribble... All these concepts, complementing each other, convey the essence of the balalaika - an instrument that is light, funny, “strumming”, and not very serious.

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Balalaika is a Russian folk stringed musical instrument. Balalaika has a triangular body and three strings. A characteristic method of producing sound on a balalaika is rattling - hitting all the strings with a finger at the same time. The balalaika is one of the instruments that, along with the accordion, has become a symbol of the Russian people. The most famous Russian instrument. Not only folk songs, but also works of Russian and Western classics sound beautifully on it. Many composers create their works for it. More than a hundred suites, sonatas, concerts and other works have been created for the balalaika. Playing the balalaika is taught in music schools, colleges and conservatories.

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Fill out the crossword by guessing riddles about folk musical instruments (horizontally from top to bottom) 1 2 3 4 5 6 7 8 9

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Balalaika. In the forest, knock-knock, in the hut, blunder-blunder, In the hands, ding-ding, clunk-clop on the floor. He is cut down from a tree and cries in his hands. She grew up in the forest, was taken out of the forest, cries in her arms, and jumps on the floor.

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The balalaika has been known in Rus' for hundreds of years. In the 18th and 19th centuries it was perhaps the most widespread folk instrument. They danced to it during the holidays and sang songs. Fairy tales were told about her.

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Remember the fairy tale: “Three girls under the window...”? Of course, remember, and now you have the opportunity not only to draw images from this fairy tale in your imagination, but also to see them with your own eyes.

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Surprisingly masterfully, the artist depicted a cozy girlish light of beauties waiting to see which of them the king would choose as his wife. But the most amazing thing about this picture is that it was painted on a balalaika. A truly wonderful gift in such a magnificent design will appeal to everyone who has not lost the ability to believe in fairy tales.

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Balalaika is a plucked string instrument, a relative of the guitar, lute, and mandolin. It has a wooden triangular or hemispherical body and a long neck, on which three strings are stretched. The neck of the fingerboard has strings tied at such a distance from each other that by pressing the strings between them, the sounds of the scale can be extracted. These veins are called frets. The sound is produced by plucking or so-called rattling - striking all the strings at once with the index finger. So what is a balalaika?

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Dal gives an extensive description of the balalaika in his dictionary: Balalaika, balabaika, southern. Brunka (according to Dahl) is a folk musical instrument belonging to the group of string instruments. The balalaika consists of a body with a triangular soundboard, is made of pine wood and its dimensions differ from those samples of this instrument that are sold in our capitals. Balalaika by V. Dahl

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The very name of the instrument is curious, typically folk, the sound of syllable combinations conveying the nature of playing it. The root of the words “balalaika”, or, as it was also called, “balabaika”, has long attracted the attention of researchers due to its relationship with such Russian words as balakat, balabonit, balabolit, balagurit, which means to chat, idle talk (go back to the common Slavic *bolbol of the same meaning ). All these concepts, complementing each other, convey the essence of the balalaika - a light, funny, “strumming”, not very serious instrument.

For the first time the word “balalaika” is found in written monuments dating back to the reign of Peter I. Etymology

The history of the origin of the balalaika goes back centuries. Everything is not so simple here, because there is quite a large number of documents and information about the origin of the instrument. Many believe that the balalaika was invented in Rus', others think that it originated from the Kyrgyz-Kaisak folk instrument - the dombra. There is another version: perhaps the balalaika was invented during Tatar rule, or at least borrowed from the Tatars. Consequently, it is difficult to name the year of origin of the instrument. Story

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Historians and musicologists argue about this too. Most adhere to 1715, but this date is arbitrary, since there are references to an earlier period - 1688. Probably, the balalaika was invented by serfs to brighten up their existence under the rule of a cruel landowner. When did she appear?...

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Gradually, the balalaika spread among peasants and buffoons traveling throughout our vast country. Buffoons performed at fairs, entertained people, earned money for food and a bottle of vodka, and did not even suspect what miracle instrument they were playing. So that's how things are

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The fun could not last long, and finally, the Tsar and Grand Duke of All Rus' Alexei Mikhailovich issued a decree in which he ordered all instruments (domras, balalaikas, horns, harp, etc.) to be collected and burned, and those people who would not obey and give away balalaikas, flog them and send them into exile in Little Russia. But time passed, the king died and the repressions gradually ceased. How long will this last?

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So the balalaika was lost, but not completely. Some peasants still played music on three strings.

The balalaika sounded again throughout the country, but again not for long. The time of popularity was again replaced by almost complete oblivion until the middle of the 19th century. The return of the balalaika

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And one day, while traveling around his estate, the young nobleman Vasily Vasilyevich Andreev heard a balalaika from his servant Antipas. Andreev was struck by the peculiarity of the sound of this instrument, but he considered himself an expert in Russian folk instruments. And Vasily Vasilyevich decided to make the most popular instrument out of the balalaika. And then what happened

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To begin with, I slowly learned to play myself, then I noticed that the instrument was fraught with enormous potential, and decided to improve the balalaika. Andreev went to St. Petersburg to see violin maker Ivanov for advice and asked him to think about how to improve the sound of the instrument. Andreev and the balalaika

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Ivanov objected and said that he would not do a balalaika, categorically. Andreev thought for a moment, then took out an old balalaika, which he bought at a fair for thirty kopecks, and masterfully performed one of the folk songs, of which there are a huge number in Russia. Ivanov could not resist such an onslaught and agreed. The work was long and hard, but still a new balalaika was made.

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But Vasily Andreev was planning something more than creating an improved balalaika. Having taken it from the people, he wanted to return it to the people and spread it. Now all soldiers serving in the service were given a balalaika, and when they left the army, the military took the instrument with them. What did Andreev have in mind?

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Balalaika Balalaika, balalaika! Come on, play a song! Stomp, stomp, stomp, The bunny is dancing at the gate, The ears are walking on the top of the head, The eyes are looking into the garden.

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Thus, the balalaika again spread throughout Russia and became one of the most popular instruments. Moreover, Andreev planned to create a family of balalaikas of different sizes, modeled on a string quartet. To do this, he gathered the masters: Paserbsky and Nalimov, and they, working together, made balalaikas: piccolo, treble, prima, second, viola, bass, double bass. From these instruments the basis of the Great Russian Orchestra was created.

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Great Russian Orchestra