The performance and promulgation of ethnic music in Russia has a long tradition. Initially it was intertwined with various forms of art music, however, in the late 19th century it began to take on a life of its own with the rise in popularity of folkloric ensembles, such as the folk choir movement led by
Mitrofan Pyatnitsky and the Russian folk instrument movement pioneered by
Vasily Andreyev, helped by the creation of
Russian folk song collections. In
Soviet Russia, folk music was categorized as being democratic (of the people) or
proletarian (of the working class) as opposed to art music, which was often regarded as being bourgeois. After the revolution, along with
proletarian "mass music" (music for the proletarian masses) it received significant support from the state. In post-
World War II Russia, proletarian mass music however lost its appeal, whereas folkloric music continued to have a widespread support among the population, inside and outside of the Soviet Union. However, the authentic nature of folk music was severely distorted by the drive to "professionalise" performers, regardless of the genre they worked in; thus, all folk singers were obliged to learn both Western-style classical notation and to perform classical repertoire—or else risk losing their right to perform as "professionals". In the 1960s, folk music in Russia continued to receive significant state support and was often seen as the antithesis of Western
pop music. The fact that numerous Soviet folkloric ensembles were invited for foreign tours raised the prestige of the folk performer to that of academic musicians, and in some cases even higher because access to the West and Western goods was very desirable. Ethnic (folk) music in Russia can often be categorized according to the amount of authenticity in the performance: truly authentic folk music (reproductive performances of traditional music), folkloric and "fakeloric" performance. Russia is a multi-ethnic country with some 300 different ethnic groups, many of them non-Slavic, living within its borders. This article deals specifically with just Russian ethnic music.
Authentic folk music This music is closely tied in with village life and traditions. It was usually not performed by professional musicians. From the Central Committee's resolution of 1932, which prescribed musical literacy (in parallel to the drive to industrialise the Soviet Union), there has been a marked decline in authentic folk performance practice. Festivals, competitions and the work of
ethnomusicologists have made attempts at preserving what has survived. In recent times there has been a movement by musicologists to study and reproduce authentic folk music in an authentic performance style on the concert stage. This movement in Russia is spearheaded by members of the faculty of folk music at the
Moscow Conservatory under the direction of
Dmitri Pokrovsky. More recently, Russian folk songs with strong religious (spiritual) components have been performed by singers like
Zhanna Bichevskaya,
Olga Arefieva and
Elena Frolova Folkloric music This category includes music by groups led by music professionals, past and present, who have taken authentic musical material, and then arranged and performed it in a manner formulated by Vasily Andreyev and subsequently refined under Stalin's regime, yet widely accepted as 'authentically Russian' by Western audiences (conditioned, for instance, by performances by the
Red Army Song and Dance Ensemble). The category includes many of the regional folkloric ensembles and dance companies popular in the Russian Federation. Often these folkloric ensembles specialize in collecting and maintaining the folk music traditions of the area of their origins which they service. They perform in stylized stage costumes based on the authentic costume designs used in the village but modified for stage use. Most inauthentic – but widespread – was the practice of performing so-called Cossack
prisiadki (low-squatting dances) in perfect synchronization; as Professor
Laura J. Olson observes, 'this situation did not reflect actual Cossack traditions so much as it borrowed from the traditions of Russian ballet that dated to the late nineteenth century'.
Artistic folklore music This includes music composed by city intelligentsia and professional composers in a folkloric manner. Much of the music of the Russian folk instrument orchestras can also be categorized in this group as it is based on academic music traditions and playing techniques only taking a folk element as its inspiration. As in all western folklore traditions, the distinction is difficult to draw, as in the 19th century, intellectuals would both collect folk music (not always being accurate about their source material) and conflate it with original compositions. In recent times music professionals who have completed diplomas in noted conservatories performing on Russian folk instruments are now questioning their "folkiness" when they perform, as none of their music was ever really performed originally by the (village) folk. Some now refer to their music as being academic folk music which to many academic musicians is an
oxymoron. ==Vocal music==