In a new project on TV channel TNV, an interview with outstanding Tatar scientists and experts will be published on weekdays.
The forty-eighth hero of the Special Project was the composer, a candidate of art history, head of the department of theater and music of the Institute of Language, Literature and Arts. Ibrahimova Elmira Munirovna Galimova.
In an interview, the Correspondent TNV Galimov told about "their" rules for writing music for the orchestras, about what will be if the Tatars lose their music, as well as the reaction of Europeans to the national pentatonic.
"I started writing music from 9 years"
- Did you change the front of work over the past 10 years at the Institute?
- The last 10 years of my creative activity were related to the Institute of Language, Literature and Art. Ibrahimova. But literally recently there were changes in my professional activity, and now I proceed to the duties of the head of the Department of Theater Creativity Kguki. The main direction of my activity does not change, but the structure of the university puts new goals and objectives.
- Why did these changes occur in your life? Have you just achieved at the Ibrahimov Institute?
- We are creative people, still live with some stages and turns. For 10 years at the Institute, I studied in graduate school, defended the candidate, we released many publications about theater, musicology and choreography. We had 5 employees, but we performed the titanic work - released more than 240 publications for 5 years. For the first time, within the framework of the Russian scale, we had a guidebook, because in the field of ethnomiscology, within the framework of Russia, guidebooks only entered into a scientific turnover, and we have already issued 2 parts.
- What is an ethnothelor?
- We have the center of the written heritage of the institute in which a lot of manuscripts of field, expeditionary materials are stored, which are collected since the 1960s. Because There were few specialists in this area, the material was not processed. And today it is systematized and digitized. These guidebooks are making the road to our specialists. These guidebooks were directed to the regional component. The first two guidebooks we have studied the Saratov Tatars.
"You yourself participate in expeditions, collect folklore?"
- Yes! Since 2010, when I decided to defend my master's thesis on the theme of the traditional musical culture of the Perm Tatars, then I began to leave for the expedition. And in 2011 we began to leave at the institute's integrated expeditions. Why is it effectively and need to collect material? Because the regional peculiarities of this or that people have already been studied in terms of history. And ethnozykology as a new musical area should put the task of refuting the facts that put forward historians or confirm them.
- Historical facts are associated with folklore?
- Sure! For example, the historian puts forward some kind of theory, saying that the Ugorsky component or Turkic participated in ethnic formation.
- Are you looking for all this in folk creativity?
- Sure! We are ethnomisicologists and folklorists, communicating with the people, exploring the current state of the musical folklore determine which component was in ethnic formation. Because Musical Plast is that confirmation, these are intonational, rhythmic features are this confirmation. Of course, you can release a book about any people, as already there is about the traditional musical culture of the Perm Tatars.
- Is music different from Permian, Saratov, Kazan Tatars?
- Folklore is different in the intonation and rhythmic plan.
- It means that they sing somehow differently?
- In each region, its dialect and it is different. Naturally, music is reproduced with your features!
- Can you distinguish the music of Perm Tatars from the music of Saratov?
- from the music of Saratov Tatars, Mishar and also Siberian Tatars. Because there are certain interval moves, there are certain jumps, rhythmic fabul, which gives a certain emphasis, thanks to which we can understand whose song is.
- How do you use it all not only for writing scientific works, how do you have to combine theory and practice? You're a composer ...
- I started writing music from 9 years old and precisely from song creativity, later there were chamber-instrumental writings. I realized that I could not imagine myself without music, namely without writing music. This is my spiritual destination. There is no profession a composer, we also have a family and we are forced to find a niche for earnings. Of course, we can live and create as free artists, but today it is unstable, I'm talking about music to order for performers and theaters. Therefore, when I finished a conservatory as a composer, musicologist and started looking for a job, it turned out to be a big problem! Fate led me to the institute and I began to comprehend the basics of the researcher. It turned out, apparently, productive.
"I organized myself so that if I am writing a scientific article today, tomorrow I complete it and proceed to writing a particular music"
- How is your switching from scientific activities on writing music?
"When I just started writing music, I closed from my parents and asked me not to disturb."
- Can I sit on request and do it?
- At that time, yes. Now, everything has been working out over the years and I will not stand out the conditions of my family that I need to retire. I can write music under 3 working TV, maybe not everyone is capable of it. I organized myself so that if I am writing a scientific article today, tomorrow I complete it and proceed to writing a particular music. So it was the last 10 years. In December last year, I was informed that I won a grant 4-naochet opera Kul-Sharif in connection with the 100th anniversary of the Tassr, and work should be passed in May. In January, I have not yet been able to start work, I have 4 months for 2.5 hours of music ...
- It is also necessary to write down everything ...
- It was a megatitanic work for me, which I managed to give up on time. For me it was proud that I wrote for 4 months. Now I have a dream to put it.
- What genres do you work in?
- Opera, Art Opera, concerts for piano with orchestra, for saxophone. Soon, as part of the Miras festival there will be a premiere of a concert for a guitar with an orchestra in three parts.
Last year I had an interesting premiere for Kylkinis with the orchestra, it was a novelty. Because if in Bashkiria, composers are already practiced, then within our republic, the compound of ethnic tool with a symphony orchestra. We ordered Kyckubyz in Ufa, Dina Zakirov's violinist studied on it to play.
- Ethnic music takes a big role in your work. How do you come into your works?
"She has two ways, a quote option, when we take the finished folk material and pass it into the orchestral score of modern methods, and there is an option when we stylize under folk genres. And that is, in my work. In the upcoming premiere of the guitar concert with the orchestra, the first part of the romance I called her "folk fantasy" and here I use 2 methods. I also have ethnopantia for saxophone with an orchestra.
- So still rethinking?
- Sure!
- i.e. Does your audience, when goes to your concerts, is anticipating that to meet with something folk?
- Yes! It is very important for me to keep our national origins. I position myself purely national, Tatar composer. When we studied, we were very much agitated to write as Scriabin, Rachmaninov. But you need to find your musical language, find your face as a composer. Today I can say that I have my own style, musical language facing national sources. I apply in my work the database and musical folklore, which we created for all these years.
- You are a participant in a huge number of contests and grants, travel a lot in Europe. How do you take your music? In general, Tatar music?
- There were a lot of projects made in Europe in Europe within the framework of the Union of Tatarstan composers. We offer our national product there, drew attention to the fact that the pentatonic she is very interesting to act on the European viewer.
- Do you have many colleagues who are passionate about the same as you?
"Certainly, because the collection of folk songs Alexander Kuvereva is confirmation, he also had Jaudat Fayzi.
- What will lose the Tatar people if he lost his musical creativity?
- We will lose our face! To date, it is very important to maintain national identity. Today, this topic is popular among our public, our leadership. If every person does not think from the spiritual side, as part of his family, I think that we will not come today to the goal that is set. Save our identity, our Melos, our Moң. This combines the Tatar.
See also interviews with outstanding Tatar scientists and experts who came out earlier:
Gusel Valeeva-Suleimanova: "There are very few objects in Kazan, from the point of view of the development of architectural school" - video
Radio Zamalletdinov: "I am more than confident that the future for bilingual and polylingwic teachers" - video
Tufan Imamutdinov: "In our Tatar performances, the association" әLIF "there is no violence and desire to all like" - video
Alina Sharipzhanova: "The Tatar Song of the Future should be based on good texts" - Video