„Já tu Bratislavu miluju.“ Ze vzpomínek a dokumentů rodiny českého lékaře

Author(s): Jana Pospíšilová / Language(s): Czech / Issue: 3/2018

One of the stages of the Czechoslovak history is the 1920s and 1930s period when Czechs settled with their families in Slovakia, driven by a long-term perspective and working as civil servants in state administration, or in the private sphere. MUDr.Viktor Sedlák graduated from the Charles University in Prague and worked at the Dermatology and Venerology Clinic of the Comenius University in Bratislava since 1919. He later opened a private doctor’s office for skin and venereal diseases and treated the employees of Slovak Railways. In the spring of 1939, he was forced to leave Bratislava and moved to Brno. While in Bratislava, he lived with his wife and two children in a small Czechoslovak villa colony on Lermontov Street (formerly Günther Street) in a house designed by Dušan Jurkovič, in the neighbourhood of other intellectuals. The narrated memories and documents preserved in the family archive together with other objects that were carried to Brno reflect the professional career and private life of the Czech doctor who had lived in Bratislava for twenty years, and show the daily life of his family and social contacts within the predominantly Czech population. The text depicts the family memory culture.

ФОЛКЛОРНИ МОТИВ ВАМПИРА У САВРЕМЕНОЈ СРПСКОЈ ДРАМИ

Author(s): Aleksandra Bjelic / Language(s): Serbian / Issue: 164-165/2013

У раду се даје преглед фолклорних представа мотива вампира које се појављују у савременој српској драми. Метод проучавања заснива се најпре на реконструкцији фолклорног мотива овог хтонског бића, на основу грађе народног веровања и предања, а затим се компаративном анализом указује на оне његове елементе које се јављају у драми. Као пример транспозиције овог мотива у жанру драме послужила су дела Порфирогенеза Ђорђа Милосављевића и Сава Савановић – вампирска симфонија Данице Николић Николић. Анализирајући мотив вампира кроз призму начина постанка, физичких одлика и на крају метода убијања овог демонског бића, у раду се посебно подвлачи жанровска условљеност његових представа. Моћ трансформације односно прилагодљивости, која је једна од главних вампирових особености, тумачи се као један од разлога дуговечности вампира као митолошког бића и вам- пира као књижевног мотива. Уједно се указује и на могуће перспективе тумачења у приступу његовом књижевном мотиву, а које се у вези вампира и драме 21. века несумњиво тумаче као метафора за политичке и(ли) социјалне прилике – страх пред мрачном будућности, страх од мрака у којем стоји модеран човек и страх од мрака који је у њему самом. Овом тумачењу у прилог иде и чињеница да се ни једна од двеју драме не завршава уништењем овог хтонског бића – људи су ти који који бивају уништавани, међусобно.

Фолклорни наративни теории и нови практики

Author(s): Lidija Stojanovic-Lafazanovska / Language(s): Macedonian / Issue: 2/2012

In order to find the distinctive characteristics in Slavic and West-European/American folkloristics, the paper analyzes their relationship in continuity. The further explication is based on discovering the other conceptual differences, in order to get a representation of the contemporary state in the international folklore narrative researches.

Фолклорни текст у процесу заборава

Author(s): Marija Ilic / Language(s): Serbian / Issue: 1/2005

У раду се разматра методологија прикупљања фолклорних текстова у етнолингвистичким истраживањима, као и дискурс о фолклору. Коришћена је грађа из интервјуа снимљених током теренског истраживања Срба из Чипа (Szigetcsép, Мађарска) 2001. године.

Фолклорните архивни фондове към читалищата

Author(s): Milena Lyubenova / Language(s): Bulgarian / Issue: 2/2005

The article presents the work in the final stage of the project “New Life for the Old Tradition in the Valley of Mesta”, connected to archiving the collected folklore material in the villages of Garmen, Dabnitsa, Koprivlen and Pletena. The folklore materials were arranged and classified according to already confirmed rules for the conservation of folklore culture and in a manner, which would facilitate their use in the future. In the arrangement of the materials we applied the principles of archiving, accepted at the National Center for Collection and Preservation of Bulgarian Folklore at the Institute of Folklore at the Bulgarian Academy of Sciences. The main subjects in the archival funds of the four villages were unified. The documented material was arranged in three rubrics: history, ritual culture and folklore. This most general division is conventional. It was imposed by the subject matter of the field materials and by their still limited quality, which does not make it possible to follow strictly the developed scheme of the National Center. The article includes an appendix with the contents of the archived materials in the village of Dabnitsa.

Фолклорните текстове за водния бик от Кюстендилския регион

Author(s): Rossen Malchev / Language(s): Bulgarian / Issue: 18/2019

The folklore narratives for the water bull from Kyustendil region occupy an important place in the Bulgarian folklore faith. They represent a connection between historical Bulgarian communities on both sides of the Bulgarian-Serbian and Bulgarian-Macedonian state borders.

Фолклорният разказ в динамиката на съвременността

Author(s): Albena Georgieva / Language(s): Bulgarian / Issue: 2/2005

The article studies the life of a folk narrative – about the founding of “St. Nedelya” chapel near the village of Garmen, Gotse Delchev region, which was first recorded in the summer of 1998 in two versions: those of Sophia Raleva and of her husband Yordan Ralev. It was told as a part of the family history then. In the years the interest towards it increased – the Regional TV Center in Blagoevgrad made a film about it (1999), two separate analyses of it were included in a book of the author (2000), it was further audio and video documented by other researchers (2001) and at last became the source for a scenario for a musical performance of the amateur theatre group in the village (2003). Gradually the narrative and the chapel itself moved more and more in the center of the community’s interest and became one of the symbols of its identity. The increase of the narrative’s importance increased also the responsibility of the very narrator – Sophia Raleva, who after the death of her husband became the only source of the “real” story and who slightly changed her own version, including some details from Yordan’s version. Probably this was the way narratives changed in the past as well, only the process was rather slow and not so observable.

Фолклорно обучение или посвещение

Author(s): Anna Shtarbanova / Language(s): Bulgarian / Issue: 1/2012

The issue of folklore and training today is focused on a very serious problem – the misunderstanding born out of speaking for seemingly same things in “different languages”, from various perspectives. The positions from which we speak about folklore training, folklore dance and commitment rites are specified. Dance training is not differentiated from the general training in the community culture, in the ritual and festive system. Passing through commitment rites is exactly the training school for body behaviour of the local community in traditional society. The preparation for “lazaruvane” and “koleduvane” is this thing we could provisionally call folklore training in ritual dancing. The commitment rites in traditional culture are not only reduced to “lazaruvane” and “koleduvane”, which we perceive as emblematic exactly because they legitimate the maturity of the unmarried woman and man. It is a composite spread out complex in which each local community interprets and rearranges the elements of its worldview and technological order in its own terms. The result is a great variety of options which at first glance do not conform to some common logic, but appear to be contradictory. This issue is considered on the basis of a selection of field evidence related to the assimilation of the folklore dance culture all over Bulgaria. In the analysis of ritual games from different regions of Bulgaria, we observe different variants and stages of introducing the child into the world of adults as expressed in the various ritual roles performed by them in the course of a lifetime.

Фолклорно стваралаштво у бирократском коду — управљање музичким догађајем

Author(s): Miroslava Lukic Krstanovic / Language(s): Serbian / Issue: 1/2004

A music folk-created piece of work is a construction expressed as a paradigm, part of a set in the bureaucracy system and the public arena. Such a work is a mechanical concept, which defines inheritance as a construction of authenticity saturated with elements of folk, national culture. It is also a subject of certain conventions in the system of regulations; namely, it is a part of the administrative code. The usage of the folk created work as a paradigm and legislation is realized through an organizational apparatus; that is, it becomes entertainment, a spectacle. This paper analyzes the functioning of the organizational machinery of a folk spectacle, starting with the government authorities, local self-management and the spectacle’s administrative committees. To illustrate this phenomenon, the paper presents the development of a trumpet playing festival in Dragačevo. This particular festival establishes a cultural, economic and political order with a clear and defined division o f power. The analysis shows that the folk event in question, through its programs and activities, represents a scene and arena of individual and group interests. Organizational interactions are recognized in binary oppositions: sovereignty/dependency, official/unofficial, dominancy/ subordination, innovative/inherited, common/different, needed/useful, original/copy, one’s own/belonging to someone else.

Фолклорът и свещените книги: Антропогенетичният мит

Author(s): Magdalena Elchinova / Language(s): Bulgarian / Issue: 1/2000

Фольклор и русская литература XI−XVIII вв. в исследованиях польских ученых 1990−2015 годов .

Author(s): Eliza Malek / Language(s): Russian / Issue: 150/2015

This paper describes the contribution of Polish scholars to the study of Russian folklore, Russian literature of 11–18th Centuries and Polish-Russian literary contacts.

Фольклор как основа сохранения русской идентичности в китайской среде (по материалам Трехречья)

Публикация подготовлена в рамках работы по гранту РНФ «Этнические миграции как фактор цивилизационных взаимодействий и социокультурных трансформаций в Восточной Азии (история и современность)», проект № 14-18-00308.

Author(s): Anna Zabiyako,Andrey Zabiyako / Language(s): Russian / Issue: 1/2015

The article deals with ethno-cultural strategies of maintenance of the Russian identity in the Chinese environment. The authors focus on the descendants of Russian emigrants who live in Trekhrech’ye (Sanhe), the district in the north-east of China. Field studies of the Russian-speaking population of Sanhe led the authors to the conclusion that the language as well as folklore genres are one of the most important bases of maintenance of the Russian identity for this ethnic group. Previously unknown folklore texts and the texts earlier prevailing in the territory of the Russian Transbaikal and Eastern Siberia, now popular only among the Russian population of Sanhe, are published and analyzed in the given article. Статья посвящена этнокультурным стратегиям сохранения русской идентичности в китайской среде. В центре внимания авторов статьи — русские, проживающие в Трёхречье, районе на Северо-Востоке Китая. На основе полевых исследований русскоязычного населения Трёхречья авторы приходят к выводу о том, что для этой этнической группы одной из важнейших основ сохранения русской идентичности является язык и фольклорные жанры. В статье публикуются и анализируются ранее неизвестные фольклорные тексты, а также тексты, ранее бытующие на территории российского Забайкалья, Восточной Сибири, а в настоящее время популярные только среди русского населения Трёхречья.

Фольклор культовых валунов Беларуси

Author(s): Ludmila Duchic,Valeriy Vinokurov,Aleksandr Karavanov / Language(s): Russian / Issue: 2/2006

Approximately 500 cult stones have been registered in the territory of Byelorussia. 1.Magic stones (fetishes). Legends about healing. Marks on stones have been attributed to the God, the Virgin, saints, the devil, and animals. Treasure (gold, silver, weapons, a carriage) has been hidden under the stone. 2. Animistic stones (people or animals turned into stone). Plowmen and their bullocks (bulls) were turned into stone because they had worked during Easter. There are various legends about stones-animals. People, mainly women, have turned into stone because they have broken ban and have looked back. There are also wedding guests, villages churches turned into stone as well as the stones 'tailors' and 'shoemakers'', who have been turned into stone as a result of a curse. 3, Avistic stones. These legends are connected with ancestors' cult. 4 Deistic stones. Legends about pagan deities (Perun killed the devil on the stone; the hollows were made by Perun, devils; the stone was illopped by the devil when he heard the rooster crow).

Фольклор як засіб розкриття ідейно-художнього змісту сценічного хореографічного мистецтва

Author(s): Irina Herts / Language(s): Ukrainian / Issue: 2/2009

In the context of choreographic development of Ukrainian culture in the modern state building process this work contains the dance peculiarities of Transcarpathia, the basic components and typological characteristics of folklore as the mean of disclosure of the ideological and artistic content of national area dancing, reasonable priorities of choreographers’ practice, which must adhere to the expert, reviewed the conceptual criteria for different areas of local folk dance.

ФОЛЬКЛОРНИЙ УСНИЙ И ПИСЬМОВИЙ ТЕКСТ У КОНТЕКСТI СЛОВ’ЯНСЬКОЇ ТРАДИЦIЙНОЇ ОБРЯДОВОСТI

Author(s): Oksana O. Mykytenko / Language(s): Ukrainian / Issue: 51/2013

The article deals with the correlation of Slav traditional folklore texts, created both by improvisators and performers-professionals, in whose work the desire for individual, author’s role is evident. Such aspect of the existing tradition raise the question of broadening of the genre sphere of the traditional ritual folklore and addresses both the problem of oral / written tradition and the phenomenon of folk professionalism. In this context analysis of the text, in particular the funeral mourning in South-Slav traditions, requires broad parallels both in Slav and non-Slav traditions. The examples available in particular in North-Russian and Rumanian traditions can be qualified as the tendency to convey individuality in the folklore process in the form of author’s written text. This tradition functionally tends to reflect “chronicle” folklore text widely presented in the Carpathian and Balkan region.

ФОЛЬКЛОРНІ МУЗИЧНІ ТРАДИЦІЇ У WORLD MUSIC (НА ПРИКЛАДІ ГРУПИ "DAT")

Author(s): Veronica Tormakhova / Language(s): Ukrainian / Issue: 4/2014

At the beginning of the XXI century one of the trends of the music culture is mixing, combining and interpenetration of different music types such as classical and rock, classical and rap, jazz and folklore, etc. Certainly this process helps new styles, internal updates are the constant evolution of musical genres and practices. World music is one of the leading areas of musical culture of the XX – the beginning of the XXI century, which still has short history.We’ll try to explore the factors that have influenced the World Music. The sources that underpin this trend are the most ancient, archaic forms of folklore, which pronounced syncretism thinking. Let’s consider the features of African folklore and Ukrainian.Music of Africa is closely connected with African languages, the most of them are tone. The most part of African music is vocal. Melody is born and develops according the words. It leads that the text affects the intonation system tunes. Putting words on music they retain their meaning in case that the motion tune goes up or down to exactly match the proclamation warehouses. Particularly it’s important to note that each African spoken language meets certain musical harmony.Typically the vocal music is played by soloist or group in unison without harmonic accompaniment. A characteristic feature of African singing is the method of the "call and answer" when soloist’s solo has to be answered by choir’s chorus. Rhythmically African songs can be divided into two main groups. They are the "free" and "fixed" rate. The main difference between them is the melody being accompanied by an underscore regularly recurring fractions of time in the first case, and in the second one it is a rhythmic accompaniment accompany singing. The most of African songs are accompanied by active with rhythmic accompaniment. Comparing with the European tradition which has divided into many musical art components into separate arts, including song and dance, separating the sound from its plastic expression, the force of the African music impact is in its syncretism.Based on the theory of the world folklore common origin as one of the earliest stages of human culture and as non-verbal communication (gestures, facial expressions), we can assume the possible existence of a single intonation base. Early examples of folklore in various nations are very similar. The gradual involvement of all members of society to common work didn’t obstructed free development of the personality. It has created a unique form of concentrate primary culture of every nation. The main feature of folklore was the absence of separation between performer and audience. It became a fundamental feature of all popular music, including jazz and rock.We consider the peculiarities of Ukrainian folklore now. The folklore of the African peoples is based on rhythmic variety where the melodic principle dominates. The European folklore is the opposite of the previous one. We can show it on such example as Ukrainian folk music. Considering the characteristics of Ukrainian folklore, you can notice that the melody of Ukrainian folk songs, different intonation and motive, metro-rhythmic variety are depended on the content and the social function of a folklore genre or type, place of existence.The group "DAT" song "I’ve got free" is a sample composition which belongs to the World Music, the hallmark of which is the use of samples of vocal and instrumental folk of the world (origin of the name the World – World Music). Instead of samples, live sound of folk instruments and vocals in folk singing style are often used. Complex means of musical expression, used in the song "I’ve got free", confirms the aforesaid: 1. Using kolomiyka’s rhythm in the basis of the song. It talks about the spreading of kolomiyka thinking across Ukraine from the western territory. It was rethought by the pop group which does not belong to the western region. 2. Using the characteristic words of the western dialect in the song’s text. 3. Variant development of melodic material in the vocals that comes from folk music. 4. In polyphonic style of singing, being used in the chorus we can see the link with the burdon texture of folklore. 5. Using major chords in the song’s harmonization also is a feature of Nigerian and Ethiopian folklore (It is appropriate to recollect that the folklore of African immigrants greatly influenced the emergence of many genres that were the origins of jazz). 6. Using of pentatonic melody at the methodic of the song what underlines the influence of African people folklore. World Music is one of the most perspective music trends which based on the archaic layers including Ukrainian folklore. Its research only begins according to the development of the musical practice.

ФОЛЬКЛОРНО-ЕТНОГРАФІЧНА СКЛАДОВА АРХІВУ МИХАЙЛА КОМАРОВА

Author(s): Nadiya Yatsun / Language(s): Ukrainian / Issue: 27/2016

In Ukrainian folklore regional study of oral folklore most distinctly manifested in the practice of local gatherers grouping archival collections of folklore. A regular gathering, printing and studies of folklore have to XIX – early XX century – the formation and development of folklore as a scientific discipline.A significant contribution into ethnography development was made by Mikhail Komarov (1844-1913) - outstanding bibliographer, critic and literary scholar, a talented organizer and known public figure, one of the founders of Odessa «Prosvita» organization (1905-1907). Mikhail Komarov, a lawyer by education he got after graduating the Law Faculty of Kharkov University (1867), always paid attention to the folk art, national idea and believed in the historical perspective of the people.Still since his student days was interested in the spiritual heritage of the people, its songs, thoughts, carols and other forms of folklore. Combining studies at the University with obligations national teacher in the village Havrylivtsi (now Barvenkovsky district Kharkiv region), began here to collect Ukrainian oral folklore, recorded songs, thoughts, carols. The article «Two Variants of South-Russian Duma of Savva Chaly» in «Yekaterynoslavs’k province news» (1865, № 22) was the first publications M. Komarov.During next years of studentship Komarov continued to make records of folklore, adding to his previous collection of songs, carols and others. Part of folklore materials were reflected in the orderly him «Nova zbirka narodnyh malorus’kyh prykazok, prysliv’yiv, pomovok, zagadok i zamovlyan’» (Odessa, 1890). It was a significant work of Komarov, published in Odessa period of his life. Besides his own collected material included to «Nova zbirka...» some additional content was sent by many of his friends and acquaintances. In particular, at his request have responded: O. Pchilka, C. Neumann, B. Chaychenko (alias B. Grinchenko), E. Hanenko, O. Konys’kyy and others.In Komarov’s records are saved considerable number of proverbs and sayings, riddles and of spells collected in different parts of the country. There are a number of different genres of songs – social, ceremonies and cossack, love, wedding, humorous al., recorded by in Podillya and Tavria. Folklore and ethnographic sources that kept and increased by Mikhail Komarov – an outstanding acquisition not only Ukrainian, but also all Slavic folklore. This is a reflection of Ukrainian folk art in its genre variety, a large number of samples (archival Komarov them are about 3000) and wide area – a Tavria, Halychyna, Podillya and Slobozhanshchyna.Because these samples of folk art reflects the world view of the people of that time, his work, life, family and social relationships, communication with nature, reflected the local language and cultural differences. So folklore-ethnographic component of M. Komarov records has considerable value not only folklore but for the ethnographic and historical sciences, literature, art history and linguistics. The collected by him and his correspondents array of ethnographic material is a valuable primary source for the study of folklore process late XIX – early XX century.

ФОЛЬКЛОРНО-МІФОЛОГІЧНИЙ ОБРАЗ ЧОРТА В УКРАЇНСЬКІЙ РОМАНТИЧНІЙ ПРОЗІ

Author(s): Tetiana Danyliuk-Tereshchuk / Language(s): English,Ukrainian / Issue: 1/2017

The article reveals and analyzes the interpretation uniqueness of folklore and mythological image of the devil in the prose works by G. Kvitka-Osnovyanenko, P. Kulish, M. Kostomarov, O. Storozhenko. The study sheds the light on the image genesis, functions, features, semantic peculiarities of the character in oral tradition and authors’ perception of it. The writers are fairy original in creating the literary image of the devil and are not confined to only one motive (“bargain with the devil” (faustian bargain), “selling one’s soul to the devil”, “Devil guards the treasures”, “devil fears the cross/holy water”, etc.). The authors synthesize the material according to their own individual aesthetic conception. Under these conditions, the archetypal for most cultures image of the devil has gained the semantic polyphony of a true literary character, which in the terms of the principle of confrontation/ interaction with the world of humans, has manifested itself in all significant ideological dimensions. The latter implies social pragmatics and philosophical importance, moral-ethical codes and multidimensional nature of art. Using the language of associations and mythological contaminations romanticists proclaim eternal categories of human entity (life - death, good - evil, sin - atonement).

Фольклорные начала в визуальной поэзии футуристов (на примере ранних стихотворений М. Семенко и В. Гнедова)

Author(s): Ksenia Dubiel / Language(s): Russian / Issue: 1/2019

The article describes some of the experiences of Ukrainian futurist Mykhail Semenko and Russian ego-futurist Basilisk Gnedov in the field of visual poetry and their connection with folklore motifs. For a more holistic image of this problem, the text briefly outlines Semenkov’s concept of “poesomalarstvo”, connected with the plastic appearance of the poetic text, as well as the general nature of linguistic and visual poetry experiments in Gnedov’s early works. There are also related aspects of the artistic practice of both poets, whose work to a certain extent had common origins. Folk roots in the poetry of both futurists are represented on the material of analysis of two early poems, which are an example of visual poetry.

Фольклорные танцы в структуре сюиты для клавирного дуэта

Author(s): Yuri Scherbakov / Language(s): Ukrainian / Issue: 35/2015

In the article there is considered the role of a folk dance component in original suite cycles composed for a piano duo. There is performed a complex analysis of music pieces written by musicians of XX – XXI centuries. Among them, there are suites of composers of France, Czech Republic, Greece and Ukraine, based on folklore of Greece, Brazil and Ukraine. There are given recommendations for performers, aimed at creation of artistic interpretation, which reflects peculiarities and coloring of the national dance. Filling in the suite cycle with intonations and rhythmic formulae of folk origin increases composers’ individual stylistic potential. Suite genre principles enable the authors to realize the perspective of panoramic showing of dance-musical traditions of the country or of the region. They often open to a wide circle of readers’ musical intonation-image atmosphere of the countries, whose folklore did not receive reflection in the composers’ professional creative art before. Folk line is developed in suites for piano duo under the influence of artistic views of the most important composers of XX century – B.Bartok, I.Stravinskiy, L.Janacek and others, who demonstrated in their creative art its prospects and actuality. “Brazil dances” Suite by Vlastimil Leisek includes three dances without titles. A characteristic rhythmic pulse, imitating sounds of fingered instruments, is emphasized by accents and syncopes. It provokes piano duo performers for organic use of piano movements, adequate to the impulsivity of Brazilian dances. In Brasileira from “Scaramouche” by Darius Milhaud there have been realized personal impressions of D. Milhaud from dance folklore of Brazil, where he went as a secretary of the Ambassador of France. Use of folklore of other countries along with folk themes of native Provence in the works of Milhaud witnesses about continuity of traditions of French composers J.Rameau , F.Couperin, G.Bizet, whose creativity was based on dance folklore. Suite “Eight dances from Greek islands” by Janis Konstantinidis was written in 1971. There has been realized in it one of creative principle of the composer – to preserve national melodics in its original form. The main tool used for its transformation and development is harmonic enrichment of the material. Having a deep knowledge of tonalities, characteristic of Greek music traditions, every time the composer conveys a special colour to the melody. Laconic, accurate and modest tools in combination with a good knowledge of technical and timbre possibilities of two pianos have enabled the composer to create a peculiar impressionist colouring of sounds of Greek melodies. In Suite №1 Zhanna Kolodub in its title “Folk suite” declares semantic element of the piece, which is based on examples of folk creative art. All five parts of the suite have programme titles, in which song titles are fixed. The composer offers instrumental image of song and dance type of suite, in which dancing element is the main rhythmic and organizing component, whereas singing element is present. In folk tradition dance is often performed with a choir, creating indissoluble unity. Therefore, choreographic elements of dancing movements directly reflect synthetic model of word text of the song. This suite continues developing topics touched upon in the area of solo piano music. Analyzed suites for piano duo with folk dances bring one to the conclusion that organic implementation of dancing folk material in the music practice has a big positive effect for realization of composer’s dance image. There emerge integration processes between two systems of thinking (professional and folklore). Folklore can be used by the author as an integral component of the music piece, but fragmental use of its concentrated intonation, rhythmical and tonality features is more widespread. Unification of several dances in the cycle, functioning in a common “geographic” space, becomes a factor, stimulating programme manifestations, in which regional dance characteristic features are mirrored. By means of conveying peculiarities of timbre characteristics of tools, accompanying folk dances, composers aim to enrich a set of expression tools by non-standard acoustic and color performers’ techniques. Use of dance vocabulary of various national cultures in suites for piano duo with folk dances continues a tradition of an old suite, in which German, French, Spanish, English, Italian and other dances are combined. We consider that the experience of creating cycles based on comparison of several dances of one region is fruitful and enables the composer to form diversified presentations about specifics of its folk and dancing sphere. Basis of characteristic elements of the music language helps to identify new possibilities of performance form of a piano duo in conveying specific dancing rhythms, imitation of folk instruments sounds as well as in retranslation of psychological and emotional component of folk dancing creative work. Expression of composer’s interest towards folklore of his country as well as towards folklore of other countries becomes an important factor of extending repertoire base of a piano duo genre.