The folklore of any nation is a complex system of oral works which interacts with other systems of spiritual life, such as literature, social and political life of society, etc. Folklore texts can be incorporated into the life of people naturally or introduced into the global information space through written texts (literature, media, scientific collections of folklore texts) and stage performance. The purpose of the study is to characterize the role of the heroic song about the Kurtatins in the song repertoire and Ossetian folklore; to identify basic translation principles and strategies used by the famous Ossetian educator Gagudz Guriev. The textological search was conducted in the Scientific Archive of the North Ossetian Institute of Humanitarian and Social Research n. a. V.I. Abaev. Versions of the song texts were found. Any text of Ossetian folklore is a part of Indo-European plots, tales and archetypes. A heroic song is a genre of Ossetian folklore which transfers information and signifies the importance of events, glorifies heroes. As for the folklore text as a part of the culture, currently the song about the Kurtatins is not performed by folklore amateur or professional groups. The article aims to find out whether this song exists in the folklore environment. The study can be used to compile the index of the Folklore Fund of the Scientific Archive of the North Ossetian Institute of Humanitarian and Social Research n.a. V.I. Abaev and for other research and humanitarian purposes.

The subject of the study is the historiography of the study of Ossetian song folklore. The object of the study is mytho-religious songs. The purpose of the article is to systematize information sources reflecting the history of the development of research interest in the song folklore of Ossetians, paying special attention to mytho-religious songs. With the help of source research methods, handwritten collections, music collections, notes of individual samples in music publications, descriptions of audio recordings, research works were identified. This article discusses issues related to the activities of various collectors of Ossetian musical folklore. The author traces the stages of the formation of scientific thought, and the development of collecting activities. The most significant works are highlighted, including samples of mytho-religious songs of Ossetians. The main conclusions of the study relate to observations on the activities deployed in the 1920s - 1930s and related to various collectors. The analyzed data indicate an undoubted interest in the Ossetian song tradition. Thanks to folklore and ethnographic expeditions of the 1920s, an impressive set of materials of Ossetian song folklore was collected, but it is worth noting the careless attitude of collectors to the poetic text. Quite often it is presented in a distorted version, in the volume of one stanza, and sometimes it is completely absent. The breakthrough in collecting detail was the appearance of the phonograph. Phonographic recordings made in the 1930s. they still make up the main body of materials on the folk musical culture of Ossetians. A special contribution of the author to the study of the topic is the systematization of information sources on mytho-religious songs, which determines the scientific novelty of this research work.

Осетинский народный календарь не раз становился объектом научных изысканий, однако музыкальная составляющая обряда оставалась за рамками научного интереса исследователей. В настоящей статье впервые рассматриваются музыкально-поэтические особенности песни «Фæззæджы зарæг» (букв. Осенняя песня), исполняемой во время праздника в честь первого выхода на покос. Источниками для проведения исследования послужили образцы из сборников «Ирон адæмон сфæлдыстад», «Памятники народного творчества осетин», «Осетинские народные песни» под редакцией Е. Гиппиуса и Б. Галаева, а также материалы из Научного архива СОИГСИ. Музыкальный материал «Фæззæджы зарæг» представлен как в Научном архиве СОИГСИ, так и в сборнике «Осетинские народные песни». Объектом внимания в статье являются музыкально-поэтические особенности «Осенней песни». В рамках исследования проведен анализ порядка 10 образцов. Отмечено музыкально-поэтическое своеобразие, отдельное внимание уделено ладогармоническим, ритмическим и мелодическим особенностям песни. Общие наблюдения касаются также и динамики исторического развития, связанной с угасанием культа и потерей контекстов исполнения обрядовой песни. Анализ музыкальной составляющей осеннего праздника в честь начала сенокоса дает возможность сделать выводы о том, что песня являлась ритуально-магической и пелась с верой в вербальную магию. Также в песне употребляются и призывы к работе, восхваления трудолюбивых и высмеивание ленивых. Музыкально-типологический анализ выявляет единый музыкальный тип «Фæззæджы зарæг», который характеризуется едиными ладогармоническими показателями. Публикация снабжена рисунками, схемами и нотными примерами. Нотный материал вводится в научный оборот впервые. The Ossetic folk calendar is repeatedly becoming the object of scientific research, but the musical component of the rite remained beyond the scientific interest of researchers. In this article, for the first time, the musical and poetic features of the song “Fæzzædzhy Zaræg” (lit. Autumn Song) performed during the holiday in honor of the first mowing season are considered. The sources for the study were samples from the collections “Iron Adæmon Sfældystad”, “Monuments of Ossetic Folk Art”, “Ossetic Folk Songs” under the editorship of E. Gippius and B. Galaev, as well as materials from the North Ossetian Institute for Humanitarian and Social Studies Scientific Archive. The musical material “Fæzzædzhy Zaræg” is presented in the North Ossetian Institute for Humanitarian and Social Studies Scientific Archive and in the book “The Ossetian Folk Songs”. The object of attention in the article is the musical and poetic features of the “Autumn Song”. The study carried out an analysis of 10 samples. Musical and poetic originality is noted, special attention is paid to the harmonic, rhythmic and melodic features of the song. General observations also relate to the dynamics of historical development associated with the extinction of the cult and the loss of contexts for the performance of a ritual song. The analysis of the musical component of the autumn holiday in honor of the beginning of haymaking gives the opportunity to draw conclusions that the song was ritually magical and sung with faith in verbal magic. The song also uses calls for work, praise of the hardworking, and ridicule of the lazy. Musical and typological analysis reveals a single musical style “Fæzzædzhy Zaræg” which is characterized by uniform ladoharmonic indicators. The publication is provided with drawings, diagrams and musical examples. Musical material is introduced into scientific circulation for the first time.

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