Rhythmic cadence in jieretii yrya the Yakut olonkho of the Vilui tradition: composition structure level

Currently, the most developed area of study of Yakut folk songs are hand-sounding, genrethemed, style, terminological patterns and features. There are only separate developments in metrorhythmics, compositional structure and rhythmic cadence in the Yakut Olonkho. From this point of view, the presented study is relevant.

Purpose of the work was to study the specifics of rhythmic cadence in the songs of jieretii yrya from olonkho V. O. Karataev at the compositional level. Accordingly, the following objectives should be achieved: study the methodology of rhythmic cadansing and composition in professional music; consider rhythmic cadences at the level of compositional structure in the jieretii yrya olonkho of the Vilui tradition; to identify the features of the final and interline rhythmic cadence in jieretii yrya of olonkho The Mighty Er Sogotokh by V. O. Karataev.

In their work, in the study of rhythmic cadences, they relied on the methodology of M. G. Kondratiev. In this work, we have used methods of musical analysis, comparative study, structural analysis of texts, abstracting in highlighting common features and a systematic approach. We described the creation of V. O. Karatayev, a bright representative of the Vilyui performing tradition. We also considered the types of cadences of professional music, determined the rhythmic organization of cadences in jieretii yrya of olonkho Mighty Er Sogotokh by V. O. Karataev, interstrophes (by M. G. Kondratiev) and final rhythmic cadences.

The results of the study showed the functional basis of the consistency of the verse text and the chant in the jieretii yrya olonho, which is carried out by the rhythm. It was found that interstrophic rhythmic cadences are more optimally defined as interlinear. Their definition is specified as complete and incomplete interline cadences, which depends on the end of the cadences with or without stability. The final cadence is indicated as complete due to the mandatory end of its structure and always at the end of the song. It is intonationally identical to the inducing sentence of the intonation of the origin of jieretii yrya, which is close to the inducing sentence.

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