Izaly Zemtsovsky - Academia.edu (original) (raw)
Papers by Izaly Zemtsovsky
De Gruyter eBooks, Oct 8, 2023
Alma B. Kunanbaeva introduced into the scholarship the concept of genre doubles. In short, everyt... more Alma B. Kunanbaeva introduced into the scholarship the concept of genre doubles. In short, everything in the oral tradition – formulas, musical motives, plots, poetics, the genres themselves, etc. – each without exception has its “doubles” along the vertical (social) and horizontal (local dialects).
Ethnomusicology, 1996
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
Stanford University Press eBooks, Jun 14, 2006
Journal of Folklore Research Reviews, Apr 16, 2008
... No part of this publication may be reproduced, stored in a retrieval system or transmitted in... more ... No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. ... Is it a case of contradiction or solidarity? ...
Journal of Folklore Research Reviews, 2003
This book is a collection of fifty-four stories recorded by the author between 1993 and 1997 in t... more This book is a collection of fifty-four stories recorded by the author between 1993 and 1997 in the Amur region of the Russian Far East. Most of the stories were told by women from several generations and ethnic groups: three storytellers are of the Udegei, two are of the ...
Anthropology & archeology of Eurasia, Jul 1, 1996
Page 1. IZALY IOSIFOVICH ZEMTSOVSKY The Articulation of Folklore As a Sign of Ethnic Culture “Whi... more Page 1. IZALY IOSIFOVICH ZEMTSOVSKY The Articulation of Folklore As a Sign of Ethnic Culture “Whining is our throat ,,{ Singing is our mouth . . . Musical ethnography (or, as this scholarly discipline is now called, ethnomusicology ...
Oxford University Press eBooks, 2001
Ethno-musicology, 1997
... The term parallels that of noosphere, introduced seventy years ago by Pier Teilhard de Chardi... more ... The term parallels that of noosphere, introduced seventy years ago by Pier Teilhard de Chardin and Vladimir Vernadsky.6 In addition to their biological, social, and cultural characteristics, humans are endowed with an ability to be supersensuous, and therefore have access to ...
Yearbook for Traditional Music, 1990
... settled there. Numerous Krivichi and the Polyans of Kievan Rus were in contact with the Kipch... more ... settled there. Numerous Krivichi and the Polyans of Kievan Rus were in contact with the Kipchak, whom the Russians called Polovtsy (lit. &quot;yellow-haired&quot;), while the Western Europeans called them Kumans. &quot;Burials of Turkic ...
Ethno-musicology, Oct 1, 2006
Oxford University Press eBooks, 2001
Folklorica, Jan 23, 2010
Allow me to begin with some personal remarks. I was the only ethnomusicologist among the students... more Allow me to begin with some personal remarks. I was the only ethnomusicologist among the students of V. Ia. Propp. That being the case, I consider it my duty to discuss those features of Propp's scholarship and that part of his legacy which specifically concern music. I have already completed an article entitled "Propp the musician" that will appear in "Russian Studies." Here I turn to a part of Propp's work which has not yet been examined and focus on his contributions to ethnomusicology. Propp wrote little about music, at least in his studies that have appeared in print. On occasion, he would mention musical motifs appearing in tales or epics. One striking example is a passage from "The Historical Roots of the Magic Tale" (2) that clearly reveals his love of music. Propp wrote: "It is impossible not to mention the beauty and the lively splendor of certain Greek concepts. The Greeks, it appears, were the first to introduce music, which was not the magical music of flutes and drums, but which was intended for everyone. Such music later permeated Europe, appearing in everything from the tale "The Little Red Flower" to the angels pictured playing violins and trumpets at the feet of Mary. After citing a series of supporting examples, Propp concludes with a discussion of the "singing tree" in Russian folk tales (3). When Propp wrote about music, his style had a characteristic musicality and acquired a certain melodiousness. The following line from "The Secret Forest" (4) almost bursts with music: "The sound of the flute summons the spirits" (Zvuki dudki vyzyvaiut dukha). Music is capable of resurrecting the dead and turning them into wolves. Propp was intrigued by a legend on this topic which Boas had collected and published (5). "Then the wolves brought in a corpse. They wrapped it in a wolf pelt, laid it down near the fire, and began to dance around it, chanting to a specific beat. Then the dead man got up and began to stumble about. The longer they sang their chant, the more confidently the man moved. Finally, he actually began to run about like a wolf." A few examples will suffice. We can see and hear how music sounds through the pages of Propp's books. This being the case, we might expect the author to begin contemplating music alone and to move toward ethnomusicology. This was indeed the case. Propp's most substantial contributions to the field appear in his book "The Russian Heroic Epic" (6) and in his articles on the classification of folklore genres. (7) In his book on epic poetry, Propp made two important musicological observations. First, he noted that in an epic singing coincides with the text, something that, as he observed, is not always the case. Furthermore, he pointed out that the musical style used in the performance of one narrative genre "is self-contained and cannot be used in the performance of other narrative types." Propp's second contribution involves his reaction to the notion of "epic calm," an idea that was wide spread in Soviet epic studies. He expressed his
Oxford University Press eBooks, 2001
Oxford University Press eBooks, 2001
Yearbook for Traditional Music, 1995
Folklorica, Apr 13, 2010
This book opens a new series and is in a certain sense a sensation. Calendar rituals and folklore... more This book opens a new series and is in a certain sense a sensation. Calendar rituals and folklore, which traditionally have been connected with western and southwestern Russian regions, have been practically unpresented by ethnomusicologists of the Urals. Eighty-tliree songs attached to calendar holidays and widely known to the old-time Russian inhabitants of the Central Urals before Soviet power are included in the present collection. The author, a well known musicologist and folklorist in the Urals, carried out the recording of these rituals and songs in the 1970s and 1980s with the assistance of students from the Ural State Conservatory named after M. P. Musorgsky and of members of the Sverdlovsk District House of Folklore. In the Urals the most well known Yuletide, Carnival, Trinity, and Semik rituals, round dances, and the basic circle of the songs accompanying them have been restored by the author according to recollections of the rural performers.and according to archival materials. Description of the calendar holidays has been given both in the author s account and in the stories of the residents of towns and villages in the Urals. Almost all the material is being published for the first time and preserves the main features of the Ural dialect. Within the calendar sections songs have been grouped by their rhythmic structures. In the commentary parallels with the calendar folklore of other regions or Russia are given, first of all the traditions closest to those of the Urals, that is, the Russian North, Povolzhie, Kama, Zaurale, and Siberia. Kaluzhnikova's introductory article and her scholarly apparatus are marked by their high level of scholarship and have no trace of provincialism. She characterizes the folklore-ethnographic cycle of the calendar tradition in the Central Urals (pp. 7-25) and the music as one of the "sub codes" in the calendar rituals of the Central Urals (pp. 25-48) in detail. She points out the heterogeneity of the local population and the role of inter-ethnic contacts with the non-Russian peoples of the Urals, proposes a typology of the song structures and their rhythm, distinguishes SI
Cahiers de musiques traditionnelles, 1993
Among existing theories regarding popular traditions of multi-part singing, one particular theory... more Among existing theories regarding popular traditions of multi-part singing, one particular theory, which considers multi-part singing first and foremost as an intonational means of interaction, deserves closer scrutiny. The author thus proposes the concept of musical ...
De Gruyter eBooks, Oct 8, 2023
Alma B. Kunanbaeva introduced into the scholarship the concept of genre doubles. In short, everyt... more Alma B. Kunanbaeva introduced into the scholarship the concept of genre doubles. In short, everything in the oral tradition – formulas, musical motives, plots, poetics, the genres themselves, etc. – each without exception has its “doubles” along the vertical (social) and horizontal (local dialects).
Ethnomusicology, 1996
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
Stanford University Press eBooks, Jun 14, 2006
Journal of Folklore Research Reviews, Apr 16, 2008
... No part of this publication may be reproduced, stored in a retrieval system or transmitted in... more ... No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. ... Is it a case of contradiction or solidarity? ...
Journal of Folklore Research Reviews, 2003
This book is a collection of fifty-four stories recorded by the author between 1993 and 1997 in t... more This book is a collection of fifty-four stories recorded by the author between 1993 and 1997 in the Amur region of the Russian Far East. Most of the stories were told by women from several generations and ethnic groups: three storytellers are of the Udegei, two are of the ...
Anthropology & archeology of Eurasia, Jul 1, 1996
Page 1. IZALY IOSIFOVICH ZEMTSOVSKY The Articulation of Folklore As a Sign of Ethnic Culture “Whi... more Page 1. IZALY IOSIFOVICH ZEMTSOVSKY The Articulation of Folklore As a Sign of Ethnic Culture “Whining is our throat ,,{ Singing is our mouth . . . Musical ethnography (or, as this scholarly discipline is now called, ethnomusicology ...
Oxford University Press eBooks, 2001
Ethno-musicology, 1997
... The term parallels that of noosphere, introduced seventy years ago by Pier Teilhard de Chardi... more ... The term parallels that of noosphere, introduced seventy years ago by Pier Teilhard de Chardin and Vladimir Vernadsky.6 In addition to their biological, social, and cultural characteristics, humans are endowed with an ability to be supersensuous, and therefore have access to ...
Yearbook for Traditional Music, 1990
... settled there. Numerous Krivichi and the Polyans of Kievan Rus were in contact with the Kipch... more ... settled there. Numerous Krivichi and the Polyans of Kievan Rus were in contact with the Kipchak, whom the Russians called Polovtsy (lit. &quot;yellow-haired&quot;), while the Western Europeans called them Kumans. &quot;Burials of Turkic ...
Ethno-musicology, Oct 1, 2006
Oxford University Press eBooks, 2001
Folklorica, Jan 23, 2010
Allow me to begin with some personal remarks. I was the only ethnomusicologist among the students... more Allow me to begin with some personal remarks. I was the only ethnomusicologist among the students of V. Ia. Propp. That being the case, I consider it my duty to discuss those features of Propp's scholarship and that part of his legacy which specifically concern music. I have already completed an article entitled "Propp the musician" that will appear in "Russian Studies." Here I turn to a part of Propp's work which has not yet been examined and focus on his contributions to ethnomusicology. Propp wrote little about music, at least in his studies that have appeared in print. On occasion, he would mention musical motifs appearing in tales or epics. One striking example is a passage from "The Historical Roots of the Magic Tale" (2) that clearly reveals his love of music. Propp wrote: "It is impossible not to mention the beauty and the lively splendor of certain Greek concepts. The Greeks, it appears, were the first to introduce music, which was not the magical music of flutes and drums, but which was intended for everyone. Such music later permeated Europe, appearing in everything from the tale "The Little Red Flower" to the angels pictured playing violins and trumpets at the feet of Mary. After citing a series of supporting examples, Propp concludes with a discussion of the "singing tree" in Russian folk tales (3). When Propp wrote about music, his style had a characteristic musicality and acquired a certain melodiousness. The following line from "The Secret Forest" (4) almost bursts with music: "The sound of the flute summons the spirits" (Zvuki dudki vyzyvaiut dukha). Music is capable of resurrecting the dead and turning them into wolves. Propp was intrigued by a legend on this topic which Boas had collected and published (5). "Then the wolves brought in a corpse. They wrapped it in a wolf pelt, laid it down near the fire, and began to dance around it, chanting to a specific beat. Then the dead man got up and began to stumble about. The longer they sang their chant, the more confidently the man moved. Finally, he actually began to run about like a wolf." A few examples will suffice. We can see and hear how music sounds through the pages of Propp's books. This being the case, we might expect the author to begin contemplating music alone and to move toward ethnomusicology. This was indeed the case. Propp's most substantial contributions to the field appear in his book "The Russian Heroic Epic" (6) and in his articles on the classification of folklore genres. (7) In his book on epic poetry, Propp made two important musicological observations. First, he noted that in an epic singing coincides with the text, something that, as he observed, is not always the case. Furthermore, he pointed out that the musical style used in the performance of one narrative genre "is self-contained and cannot be used in the performance of other narrative types." Propp's second contribution involves his reaction to the notion of "epic calm," an idea that was wide spread in Soviet epic studies. He expressed his
Oxford University Press eBooks, 2001
Oxford University Press eBooks, 2001
Yearbook for Traditional Music, 1995
Folklorica, Apr 13, 2010
This book opens a new series and is in a certain sense a sensation. Calendar rituals and folklore... more This book opens a new series and is in a certain sense a sensation. Calendar rituals and folklore, which traditionally have been connected with western and southwestern Russian regions, have been practically unpresented by ethnomusicologists of the Urals. Eighty-tliree songs attached to calendar holidays and widely known to the old-time Russian inhabitants of the Central Urals before Soviet power are included in the present collection. The author, a well known musicologist and folklorist in the Urals, carried out the recording of these rituals and songs in the 1970s and 1980s with the assistance of students from the Ural State Conservatory named after M. P. Musorgsky and of members of the Sverdlovsk District House of Folklore. In the Urals the most well known Yuletide, Carnival, Trinity, and Semik rituals, round dances, and the basic circle of the songs accompanying them have been restored by the author according to recollections of the rural performers.and according to archival materials. Description of the calendar holidays has been given both in the author s account and in the stories of the residents of towns and villages in the Urals. Almost all the material is being published for the first time and preserves the main features of the Ural dialect. Within the calendar sections songs have been grouped by their rhythmic structures. In the commentary parallels with the calendar folklore of other regions or Russia are given, first of all the traditions closest to those of the Urals, that is, the Russian North, Povolzhie, Kama, Zaurale, and Siberia. Kaluzhnikova's introductory article and her scholarly apparatus are marked by their high level of scholarship and have no trace of provincialism. She characterizes the folklore-ethnographic cycle of the calendar tradition in the Central Urals (pp. 7-25) and the music as one of the "sub codes" in the calendar rituals of the Central Urals (pp. 25-48) in detail. She points out the heterogeneity of the local population and the role of inter-ethnic contacts with the non-Russian peoples of the Urals, proposes a typology of the song structures and their rhythm, distinguishes SI
Cahiers de musiques traditionnelles, 1993
Among existing theories regarding popular traditions of multi-part singing, one particular theory... more Among existing theories regarding popular traditions of multi-part singing, one particular theory, which considers multi-part singing first and foremost as an intonational means of interaction, deserves closer scrutiny. The author thus proposes the concept of musical ...
Izaly Zemtsovsky. The Melodics of Calendar Songs. (Kyїv, 1980). This is the abstract of the docto... more Izaly Zemtsovsky. The Melodics of Calendar Songs. (Kyїv, 1980). This is the abstract of the doctorate thesis in the form of a guide-book to the monograph of the same name published in Russian: “Melodika kalendarnykh pesen.” Leningrad: Muzyka, 1975. 224 pp. (review by Barbara Krader in Ethnomusicology, 1979, no. 2). In fact, this abstract was unavailable to specialists worldwide.
Kompozitor, Sankt-Petersburg, 2023
I present here just the first part of the book (pages 3-147) plus its Summary and Table of Conten... more I present here just the first part of the book (pages 3-147) plus its Summary and Table of Contents (pages 524-526). I proceed from the premise that there is within every Musical Human, to varying degrees, the universal “one and the same thing” that the Anthropology of Musical Existence (AME for short) has been designed to help us comprehend. This is a book about that which unites us all, musically. It is about the fact that music is one, in the way that “all humanity is one” (Lev Shternberg). The music-making human of two worlds (which I call in Latin “Homo musicans bimundi”) is the central “sun” of an entire “solar system,” which I offer here as a graphic representation of this phenomenon of AME (see the diagram between pages 20-21).