CC BY
2No. 2. 2023
ARTICLE
c3apyn
UDC
398.8 + 784.4
Yekaterina Tiron1
11nstitute of Philology of the Siberian Branch of the Russian Academy of Sciences (Novosibirsk, Russian Federation)
Cataloging, Indexing and Mapping Typical Tunes of Tuvan Kozhamyk Songs
Abstract
Author has read and approved the final version of the manuscript and declares that there is no conflict of interests.
The phenomenon of standard tunes is widespread in Siberian song traditions. This phenomenon is recorded in Tuvan folk songs as well. Typical tunes make up the melodic fund of the kozhamyk song genre, and are also found in wedding songs, lullabies, song inserts in narratives, curse songs, throat singing and some yry songs. The concept of a typical tune is characterized by a complex of characteristics: typified structure, polytextuality, non-localization and local distribution.
To date, 150 typical tunes have been identified in the studied material based on archival and published material of Tuvan kozhamyk. The tunes are polytextual; there is no stable connection between the melody and the poetic text. The typified nature of the structure manifests itself primarily at the slogorhythmic level. All tunes are сategorized according to this criterion into eight groups. Sound-pitch organization of Tuvan kozhamyks is based on the anhemitonic pentatonic scale, the peculiarity of which is the presence of a scale with a whole-tone sequence. The tunes, as a rule, are five-six-step; four and seven step tunes are less common. Based on the finalis location, five groups of tunes two of which are basic, are distinguished.
The author of the article has indexed typical tunes simplifying their systematization and mapping, and also allowing the introduction of new material for research. The index consists of three parts separated by dots: for example, index 3.E.11 means that it is the 11th tune in a group of the third syllabic type with E. finalis. The main goal of the research is to identify the stock of typical Tuvan tunes, characterize their functioning and determine the local boundaries of their existence.
Keywords: Turkic peoples of Siberia, Tuvans, folk music, folk songs, song tradition, ethnomusicology, typical tunes, polytextural tunes, local research, cataloging of tunes.
Cite: Tiron, Ye. L. Cataloging, Indexing and Mapping Typical Tunes of Tuvan Kozhamyk Songs // Saryn. - 2023. - Vol. 11. - No. 2. - PP. 69-80. DOI: 10.59850/SARYN.2.11.2023.18.
Received: 16.03.2023
Revised: 04.04.2023
Accepted: 12.05.2023
0 2023 The Author(s). Published by Kurmangazy Kazakh National Conservatory. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.
Introduction. In recent years, work has been tunes among Tuvans, their classification and in local approach is used. Working with an array faced with the need to catalogize and systematize them. Simply numbering tunes has proven to be a very unproductive way of comparing ever-expanding material. It was necessary to find classifying characteristics of typical tunes, by which any given sample could be easily identified.
The need to systematize musical phenomena in musical folkloristics was realized more than a century ago. Back to the early 20th century, Oswald Koller and Ilmari Krohn first raised the problem of determining the most adequate way of classifying, systematizing and catalogizing folk melodies associated with their archiving and scientific research [Koller, 1903; Krohn, 1903]. Soviet musical folkloristics in the 1960s-1980s and subsequent postSoviet studies extensively developed this topic on the material of Slavic song folklore [Hoshovskiy, 1965; Gippius, 1980; Efremova, 2011]. This issue has been developing by ethnomusicologists in connection with computer search and analysis methods used to create databases of the song folklore of various European countries [Dillon, Hunter, 1982; Strle, Marolt, 2010; Boot et al., 2016].
European researchers use hundreds and thousands of samples when cataloging songs; ethnomusicologists studying Siberian folklore, as a rule, do not have such collections. The material for the study of typical Tuvan tunes is archival audio recordings of the Tuvan Institute of Humanitarian and Applied SocioEconomic Research (TIHASER), the Novosibirsk State Conservatory and the Institute of Philology of the SB RAS1.
rried out to identify the number of typical ;xing as well as mapping, that is, a dialect-f typical tunes common in Tuva, we were
The results of the expeditionary activities of the Siberian ethnomusicological school in Tuva are presented in the following publications: Kondratyeva, N. M.; Novikova, O. V. O rezultatakh muzykalno-etnograficheskoy ekspeditsii v Sut-Kholskiy rayon Respubliki Tyva [orig. Russian: About the Results of the Musical and Ethnographic Expedition to the Sutkholsky District of the Republic of Tyva] // Folk Culture of Siberia: Materials of the XIV Scientific Seminar of SRVTSF : collection / edited by Tatyana Leonova. - Omsk: Omsk State Pedagogical University, 2005. - P. 43-45; Kan-ool, A. Kh.; Sychenko G. B. Muzykalnyy folklor Yugo-Vostochnoy Tuvy [orig. Russian: Musical Folklore of South-Eastern Tuva] // Siberian Ethnomusicological Expedition: Comparative Study of Transformation Processes in the Intonation Peoples of Siberia and Nepal.
- Novosibirsk, 2009. - P. 7-19; Tiron, Ye. L.; Kan-ool, A. Kh. O rezultatakh folklorno-etnograficheskoy ekspeditsii v Ovyurskiy kozhuun Respubliki Tyva
[orig. Russian: On the Results of a Folklore-Ethnographic Expedition to the Ovyursky Kozhuun of the Republic of Tyva] // Folk Culture of Siberia: Proceedings of the XIX Scientific Seminar of the Siberian Regional University Folklore Center : - Omsk: 2010.
- P. 75-80; Sychenko, G. B.; Tiron, Ye. L.; Kan-ool, A. Kh. Rezultaty polevykh i nauchnykh issledovaniy Novosibirskoy konservatorii v Respublike Tyva (1997-2009 gg.) [orig. Russian: Results of Field and Scientific Research of the Novosibirsk Conservatory in the Republic of Tyva (1997-2009)] // From Congress to Congress: Materials
of the Second All-Russian Folklorists' Congress / Moscow: State Republican Center of Russian Folklore, 2011. - P. 281-299; Mongush, U. O.; Tiron, Ye. L. Rezultaty ekspeditsii 2015 goda v selo Kungurtug Tere-Kholskogo rayona Respubliki Tyva [orig. Russian: Results of the 2015 Expedition to the Village of Kungurtug, Tere-Kholsky Region of the Republic of Tyva] // Folk Culture of Siberia: Proceedings of the XXVI Scientific and Practical Seminar of the Siberian Regional University Center for Folklore : collection / edited by Tatyana Leonova.
- Omsk: Academic Publishing House "Geo", 2016.
- P. 82-90; Bayyr-ool, A. V.; Tiron E. L. Rukopisnyye pesennyye teksty na todzhinskom dialekte tuvinskogo yazyka [orig. Russian: Handwritten Song Texts
in the Todzha Dialect of the Tuvan Language] // Languages and Folklore of the Peoples of Siberia and the Far East in Handwritten Texts of the Mid 20th-Early 21st Centuries: collection / edited by Tatyana Golovaneva. - Novosibirsk: Academic Publishing House Geo, 2020. - P. 271-374; Bayyr-ool, A. V.; Tiron, Ye. L. Zhanrovoye svoyeobraziye pesennoy traditsii tuvintsev Ovyurskogo rayona Respubliki Tyva [orig. Russian: Genre Traits of the Song Tradition of the Tuvans of the Ovyur Disrtict of the Republic of Tuva] // Siberian Philological Journal. - 2022. - No. 4.
- pp. 34-48 - DOI:10.17223/18137083/81/3. and others.
Research material. The material under study represents the song tradition of Tuvans from different regions of the Republic of Tuva (Mongun-Taiginsky, Bai-Taiginsky, Barun-Khemchiksky, Dzun-Khemchiksky, Ovursky, Ulug-Khemsky, Tes-Khemsky, Tandinsky, Erzinsky, Tere-Kholsky, Kaa-Khemsky Regions; 165 samples) from the 1970s, Tuvans from the Bay-Tayga Region in 2001 (21 samples), Tuvinians from the Erzin region from 2005, 2007 and 2014. (92 samples), Ovur Region 2009 and 2022. (667 samples) and Tuvinians-Todzha of the Todzha Region in 1997, 1999 and 2017. (113 samples).
To complete the cataloging of typical tunes, work was carried out with musical sources from the song collections of Tuvinians "Yrlar" (1956), "Yrlazhyyly" ( 1959), "Tyva ulustun yrlary" (1973) as well as from the monographic studies by Alexey Aksenov "Tuvinian folk music", Zoya Kyrgys "Song culture of the Tuvinian people" and "Tuvinian folk songs and ritual poetry", Yekaterina Tiron "Songs of the Tuvinan-Todzhin people: yr and kozhamyk genres at the end of the 20th century", collective monographs "Song tradition of the Ovur Tuvinians in the context of rural-urban migration", "Local features of the traditional culture of the inhabitants of Erzin", etc. [Aksenov, 1964; Kyrgys, 1992; Kan-ool, 2018; Kyrgys, 2018; Tiron, 2018c; Tiron, Bayyr-ool, Tarbastaeva, 2023].
In the future, it is planned to expand the source base with archival materials from the TIGPI of the 1980s and personal expedition materials from 2015 on the Tuvinians of the Tere-Khol region. In the future, it is possible to involve expedition materials from the Novosibirsk Conservatory and the Institute of Philology of the SB RAS from Sut-Kholsky 1984 and 2005, Todzhinsky Region 2003, Tere-Kholsky and Tes-Khemsky Regions 2007, Mongun-Taiginsky Region 2008. In addition, it is necessary to conduct new and repeated field studies on the territory of the Republic of Tyva, and in the future among the Tuvinians of Mongolia and China. It is also important to search for audio recordings in archives and personal collections of collectors. This article provides data on an ongoing study, the preliminary results of which have been published in a number of works by the author [Tiron, 2015; Tiron, 2016; Tiron, 2018a; Tiron, 2018; Tiron et al., 2023]. There is a large-scale project ahead requiring a lot of effort to be implemented.
Results. The main genre of the Tuvan song tradition, the entire melodic fund of which is represented by standard tunes, is kozhamyk. In linguistic dictionaries the term kozhamyk translated as couplete, joke (Mongolian khoshin 'joke, humor, wit, fun, fun'; Oirat. qoshing 'humor'), in musicological works it is defined as refrains [Aksenov, 1964; Kyrgys, 2015]. The works of philologists point to the derivative of the term from the Turkic stem kosh- 'to attach, attach', i.e. to a method of composing songs characterized by "the technique of selecting a synonymous series for the first word of each line or paired words crossing" [Mongush, 2011, p. 258]. In related Turkic traditions there are similar terms: altaian kozhoq, yakutian hohoon, uzbek koshuk, kyrgyz koshok, turkish koshma, etc. A detailed etymological analysis of these terms was carried out in the work of Galina Sychenko, dedicated to the song tradition of the Altaians [Sychenko, 1998].
Indeed, the degree of skill of the traditional Tuvan performer kozhamyk assessed by others based on the art of composing texts, improvised at the moment and tied
to a specific situation. The texts are composed according to certain poetic laws, the main of which are the four-line stanza, figurative-syntactic parallelism, the 8-syllable syllabic system of versification, and alliteration.
It is important to note that not only kozhamyk, but also other genres can be performed to standard tunes: wedding songs kudayry, lullabies opeyyry, song curses kargysh-kozhamyk, songs in narratives, sometimes lyrics may be combined with typical tunes [Tiron, Bayyr-ool, Tarbastayeva, 2023]. In addition, the tunes of Kozhamyk are also performed by throat singing [Kan-ool, 2020]. As a rule, typical tunes in these genres are somewhat modified.
The term "typical tunes" means "melodic formations characteristic of a given local tradition, possessing a complex of characteristics: non-localization, polytextuality and typified structure" [Sychenko, Krupich, Pinzhina, 2006, p. 40].
To date, 150 typical tunes have been identified in the studied material established on the material under study. All of them are polytextual; there is no stable connection between the melody and the poetic text. Ideally, the text should be improvised on one of the standard tunes. There are variants of song texts that are performed to different standard tunes2.
For typical Tuvan kozhamyk tunes characterized by a typical slogorhythmic structure. As a result of the analysis, eight slogorhythmic types corresponding to one musical and poetic line of the song, were identified:
1). AA:AA 5).
2). Ah J J : AhJ J 6). JJAh: AhJJ
3). A#:AJJ 7). Ah Ah: Ah A
4). AhA : AhA 8). J J Ah: J J Ah
The most common are the first, third and fifth syllabic types, which account for 34, 38 and 45 tunes, respectively. 15 melodies were recorded for the seventh syllabic type, for the second - eleven, for the fourth - seven, for the sixth - four, and for the eighth -only one. So, having analyzed the slogorhythmic organization of typical tunes, we divided them into eight groups.
At the next stage, we referred to the pitch structure of Tuvan kozhamyks. All standard tunes were transposed to one pitch level, considering the structure of the songs' anhemitonic pentatonic scale
and the location of the fundamental tone (finalis). The total scale includes 12 steps: eM-gM-aM-HM-D-E-G-A-h-cis2/d2-e2-g2. Typical tunes, as a rule, consist of five or six steps; four- and seven-step scales are less
common. The main part of the total scale 2 philological w°rk aimed at identifymg recorded
variants and stable elements of song texts will be is located fr°m the step hM Up to the as2/d2 presented in the forthcoming collective monograph
level, and the extreme parts of the scale are "The song tradition of the Ovyur Tuvinians
in the context of rural-urban migration" in little demand. (Tirone, E. L., Bayyr-ool, A. V.; Tarbastaeva, I. S.).
The upper degree of the main part of the scale can be realized as cis2 or as d2 (see example 1). Sometimes this is explained by the wide zone of this step, but more often the appearance of the cis2 is natural and is emphasized melodically (d2 does not function in this case). Due to the dual interpretation of this stage, this parameter is currently not considered while catologizing typical tunes. Possibly, distinguishing tunes out of two groups (with cis2 and with d2 steps) will help in the future to establish the local features of the Tuvan kozhamyk. Using the 1970s material, it was noted that "scales with cis2 are found throughout Tuva, but predominate in the western zone. In southeastern and central Tuva, such scales are used less frequently" [Tiron, 2016, p. 45].
At this stage, the location of the finalis turned out to be a relevant feature for identifying and cataloging groups of tunes. Tuvinans predominantly have tunes
Example 1. Kozgamyk on a typical tune 1.G.01. by Dyrtyk Mongush (b. 1942). Source: The IPL SB RAS musical-ethnographic expedition records (led by Yekaterina Tiron) at Khandagait Ovyursky Region of the Republic of Tyva (Russia) 2022. Decoding and translation of the text by Aziyana Bayyr-ool, notes by Yekaterina Tiron
Ulaatain 's suu teren,_ Kyzaa Bolgash yndig-la be? Chacham ugbam uruun sadar, Uzha chiir deesh yndig-la be?
3 Uruun sadar (lit.: to sell a daughter) is a humorous expression meaning 'to marry a daughter off'.
4 Uzha - lamb fat tail.
Ulaata water is deep,
Is that why [the river] is narrow?
Chacham, my elder sister is selling my
daughter3 [for marriage],
So to eat a [lamb] uzha4 there, is that why?
Example 2. Kozhamyk on a typical tune 3.E.03. by Z. N. Namnyn (b. 1953). Recorded during the musical-ethnographic expedition (led by F.Luly ) in 2017 at Adyr-Kezhig, Todzhinsky Region, Republic of Tyva (Russia). Decoding and translation of the text by Aziyana Bayyr-ool, noted by Yekaterina Tiron
Chazy-Tayga odun ottaan Chalbak-chalbak charylrym. Charash kara meen ezhim Chazy-Tayga churttug iyin.
In Chazy-Tayga graze My dears with wide horns. My beautiful girlfriend Was born in Chazy-Tayga.
with finalis E and G (there are 54 and 65 of them, respectively). A small part of the tunes has finalis A, D and H (19, 12 and 5 respectively). So, according to this parameter, five groups of tunes are distinguished, two of which are basic (for the tunes of the two main groups according to the finalis, see examples 1 and 2).
Carrying out syllaborhythmic and modal analysis of typical kozhamyk tunes and identifying the possibility of grouping tunes according to these parameters made it possible to systematize the material. This solved the problem of introducing new standard tunes that were discovered when the material under study expanded. The serial numbering of Todzha Kozhamyk tunes that we used at the beginning of the study, based only on grouping by slogorhythmic types [Tiron, 2015], significantly complicates the introduction of new materials from other local traditions.
To simplify the work, standard tunes facilitating the introduction of not only new tunes into existing groups, but also the creation of new groups, have been indexed. The index consists of three parts separated by dots: for example, index 3.E.11 means the tune of a group of the third syllabic type with a finalis E, with number 11.
The serial number of the tune in this group was added to the parameters discussed
above. It is possible that with an increased number of typical tunes, another sign according to which it will be possible to undertake grouping within existing groups (initial tone, combination of end-line tones, modal melodic turns, etc.), will be discovered. Then the index will be even more informative. At this stage, the study of the two most important parameters of the musical structure of typical tunes is quite sufficient.
The purpose of the study is to identify the complete fund of typical tunes of the Tuvinians, characterize their functioning and determine the territorial boundaries of the existence of typical tunes among the Tuvinians. Mapping typical tunes is associated with the problem of the changing territorial and administrative boundaries of Tuva. Tuvinians in the 20th century experienced a serious transformation from a traditional way of life to modern civilization. In the past, the life of the arat was tied to a certain area within which migrations took place. The map of Tuva was constantly redrawn in the 20th century: at the beginning of the century there were seven kozhuuns (Regions), distinguished on the basis of feudal unit-based assets. In 1923, this administrative division was abolished and six kozhuuns were formed according to territorial and geographical characteristics. Since then, Tuva has experienced a dozen changes: new Regions redrawing the boundaries of existing ones, were established. Regions were disaggregated, abolished, and again consolidated [Biche-ool, Dopchun, 2015]. The territorial structure of Tuva during different periods must also be taken into account when analyzing local features. The problem arises when analyzing poorly documented archival and published materials, when there is no information about the location of the recording or the place(s) of residence of the performer.
The local limited movement of the bulk of the population of Tuva, due to historical realities, also correlates with the settlement maps of the Tuvinians ethnic clans. The bearers of the tradition have residual ideas that in the past each clan had its own tune/tunes for composing song lyrics. Comparing maps of the distribution of Tuvinian clans and the existence of typical tunes is an interesting challenge, although it is apparently unlikely to be accomplished at the present time.
Conclusion. So, studying the typical Tuvan tunes, identifying their collection, characterizing their functioning and determining the local boundaries of existence are extremely relevant. This will provide a more complete understanding of the musical component of the Tuvan song tradition, and will also open up opportunities for comparative research with the song traditions of related Turkic and neighboring Mongolian ethnic groups where the phenomenon of standard tunes is also widespread.
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сЗарУп
N0. 2. 2023
Екатерина Тирон
Р€А СБ филология институты (Новосибирск, Ресей)
Тувалык кожамык эндершщ улгЫк эуендерiн каталогтау, индекстеу жэне картага тYсiру
Дцдатпа
Автор колжазбаныц со^ы нускасын окыг кугтады жэне мудделер кактыысыныц жок екендтн мэллмдейдг
Тигтк эуендер кубылысы аб1р эн дэстуршде кец таралFан. Бул кубылыс тува халык эндершде де жазы^ан. Тигтк эуендер кожамык эн жанрыныц эуезд1 корын курайды, сондай-ак уйлену, беск жыры эндершде, эцпмелердеп эн к1р1ст1рулер1нде, карFыс эндершде, тамакген эн айту жэне ырдыц кейб1р эндершде кездеседК Тигтк эуен угымыныц белплер1 мынадай кешенмен сигатталады: курылымды тигтеу, голитекстизм, кол желмаздк жэне жерплкт таралу.
Тувалык кожамьщтыц мураFаттык жэне жарияланFан материалында 150-ден астам тигтк эуендердщ болуы аныкталды. Эуен мен поэтикалык мэтш арасында туракты байланыстыц жоктьггынан эуендер кег мэтшд1 болыг келедК К,урылымныц тигтелу1 ец алдымен алгоритмдк децгейде кершедК Барлык эуендер осы непзде сепз топка белшедК Тува кожамык дыбыстык-биктк уйымы ангемитонды пентатоникаFа непзделген, оныц ерекшелИ целотон т1збеп бар ладаныц болуы. Эдетте эндер бес-алты сатылы болыг келедЬ ал терт жэне жет сатылы сирек кездеседК Финалисттщ орналаскан жер1 бойынша бес эн тобы ерекшеленедЬ олардыц екеу1 Fана нег1зг1с1 болыг табылады.
Макала авторы тигтк эуендерд1 индекстеу, оларды жуйелеу мен картаFа тус1руд1 жецтдету, сонымен катар зерттеуге жаца материал енпзуге мумкшдк бередК Индекс нуктелермен белшген уш белктен турады: мысалы, индекс 3.Е.11 бул топтаFы Е финалиспмен б1рге ушшшп слогоритмдк тигтеп 11-Ш1 эн дегенд1 б1лд1ред|. Зерттеудщ нег1зг1 максаты-тувалыктардыц тигтк эуендершщ корын аныктау, олардыц жумыс ¡стеуш сигаттау жэне олардыц жерплкт ем1р суру шегш аныктау.
Трек свздер: Об1рдщ турк1 халыктары, тувалыктар, халык музыкасы, халык эндерЬ эн дэстурЬ этномузыкатану, тигтк эуендер, толык мэтшд1 эуендер, жергЫкл зерттеулер, эуендерд1 каталогтау.
Дэйексвз Yшiн: Тирон, Е. Л. Тувалык кожамык эндершщ улплк эуендерш каталогтау, индекстеу жэне картаFа тус1ру // Saryn. - 2023. - Т. 11. - № 2. - 69-80 б. - ЭО!: 10.59850/БДкУМ.2.11.2023.18.
Макала редакцияFа тусп: 16.03.2023
Рецензиядан кейш макулданн^ан: 04.04.2023
ЖариялауFа
кабылданды: 12.05.2023
Екатерина Тирон
Институт филологии СО РАН (Новосибирск, Россия)
Каталогизация, индексация и картографирование типовых напевов тувинских песен кожамык
Аннотация
Автор прочитал и одобрил окончательный вариант рукописи и заявляет об отсутствии конфликта интересов.
Феномен типовых напевов широко распространен в сибирских песенных традициях. В тувинских народных песнях также зафиксирован данный феномен. Типовые напевы составляют мелодический фонд песенного жанра кожамык, а также встречаются в свадебных, колыбельных песнях, песенных вставках в нарративах, песнях-проклятьях, горловом пении и некоторых песнях ыры. Для понятия типового напева характерен комплекс признаков: типизированность структуры, политекстовость, неприуроченность и локальное распространение.
На архивном и опубликованном материале тувинских кожамык установлено наличие более 150 типовых напевов. Напевы являются политекстовыми, устойчивая связь между мелодией и поэтическим текстом отсутствует. Типизированность структуры проявляется в первую очередь на слогоритмическом уровне. Все напевы подразделяются по этому признаку на восемь групп. Звуковысотная организация тувинских кожамык основана на ангемитонной пентатонике, особенностью которой является наличие лада с целотоновой последовательностью. Напевы, как правило, пяти-шестиступенные, реже встречаются четырех- и семиступенные. По местоположению финалиса выделяется пять групп напевов, две из которых являются основными.
Автором статьи проведена индексация типовых напевов, упрощающая их систематизацию и картографирование, а также позволяющая вводить новый материал для исследования. Индекс состоит из трех частей, разделенных точками: например, индекс 3.Е.11 означает, что это 11-й напев в группе третьего слогоритмического типа с финалисом Е. Главной целью проводимого исследования является выявление фонда типовых напевов тувинцев, характеристика функционирования и определение локальных границ их бытования.
Ключевые слова: тюркские народы Сибири, тувинцы, народная музыка, народные песни, песенная традиция, этномузыкознание, типовые напевы, политекстовые напевы, локальные исследования, каталогизация напевов.
Для цитирования: Тирон, Е. Л. Каталогизация, индексация и картографирование типовых напевов тувинских песен кожамык // Saryn. - 2023. - Т. 11. - № 2. - С. 69-80. - ЭО!: 10.59850/БАкУЫ.2.11.2023.18.
Статья поступила в редакцию: 16.03.2023
Одобрена после рецензирования: 04.04.2023
Принята
к публикации: 12.05.2023
сЗарУп
No. 2. 2023
Автор Екатерина Леонидовна Тирон -туралы енертану кандидаты, PFA СБ филология институтыньщ мэлiмет: аFа Fылыми к1ызметкерi (Новосибирск, Ресей) ORCID ID: 0000-0001-9012-0476 email: krupich_katja@mail.ru
Сведения Екатерина Леонидовна Тирон -
об авторе: кандидат искусствоведения, старший научный сотрудник Института филологии СО РАН (Новосибирск, Россия) ORCID ID: 0000-0001-9012-0476 email: krupich_katja@mail.ru
Author's bio:
Yekaterina L. Tiron -
PhD, Senior Researcher, Institute of Philology of the Siberian
Branch of the Russian Academy of Sciences (Novosibirsk,
Russian Federation)
ORCID ID: 0000-0001-9012-0476
email: krupich_katja@mail.ru
