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ФИО автора:
Rakhmonova Zaynab Erkin kizi
Master, TerSU, Uzbekistan
Название публикации:
«FORM OF INTERNAL PROTEST IN THE WORK OF
ALEXANDER ARKADYEVICH GALICH»
Abstract:
Galich
is a pen name, an abbreviation of his last name, first name, and
patronymic: Ginzburg Alexander Arkadievich. He was born on 19 October 1918
in Ekaterinoslav (then Dnipropetrovsk and now Dnipro), Ukraine, into a family of
Jewish intellectuals. His father, Aron Samoilovich Ginzburg, was an economist, and
his mother, Fanni Borisovna Veksler, worked in a music conservatory. For most of his
childhood he lived in Sevastopol. Before World War II, he entered the Gorky Literary
Institute, then moved to Konstantin Stanislavski's Operatic-Dramatic Studio, and then
to the Studio-Theatre of Alexei Arbuzov and Valentin Pluchek
Key words: language ideology; national identity; loanwords; Russian; Uzbek
He wrote plays and screenplays, and in the late 1950s, he started to write songs and
sing them accompanying himself on his guitar. Influenced by the Russian city romance
tradition and the art of Alexander Vertinsky, Galich developed his own voice within
the genre. He practically single-handedly created the genre of "bard song". Many of
his songs spoke of the Second World War and the lives of concentration camp
inmates—subjects which Vladimir Vysotsky also began tackling at around the same
time. They became popular with the public and were made available via magnitizdat.
His first songs, though rather innocent politically, nevertheless were distinctly out of
tune with the official Soviet aesthetics. They marked a turning point in Galich's creative
life, since before this, he was a quite successful Soviet man of letters. This turn was
also brought about by the aborted premiere of his play
Matrosskaya Tishina
written for
the newly opened Sovremennik Theatre. The play, already rehearsed, was banned by
censors, who claimed that the author had a distorted view of the role of Jews in the
Great Patriotic War. This incident was later described by Galich in the
story
Generalnaya Repetitsiya
(Dress Rehearsal).
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Galich's increasingly sharp criticism of the Soviet regime in his music caused him
many problems. After it was established in 1970, the dissident Committee on Human
Rights in the USSR included Galich as an honorary member.
[1]
In 1971, he was
expelled from the Soviet Writers' Union, which he had joined in 1955. In 1972, he was
expelled from the Union of Cinematographers. That year he became baptized in
the Eastern Orthodox Church by Alexander Men.
Galich was forced to emigrate from the Soviet Union in 1974. He initially lived in
Norway for one year, where he made his first recordings outside of the USSR. These
were broadcast by him on Radio Liberty. His songs critical towards the Soviet
government became immensely popular in the underground scene in the USSR. He
later moved to Munich and finally to Paris.
On the evening of 15 December 1977, he was found dead by his wife, clutching
a Grundig stereo recording antenna plugged into a power socket. While his death was
declared to be an accident,
[2][3]
no one witnessed the exact circumstances of his
death.
[4]
The results of the official investigation were not publicly released by French
police.
According to his daughter Alena Galich-Arkhangelskaya, Galich was murdered by the
KGB.
[3][5]
Journalist and KGB agent Leonid Kolosov claimed that KGB chairman Yuri
Andropov personally authorized a mission to bring Galich back to the USSR,
promising a restoration of citizenship and artistic freedom.
[6]
But it remains unknown
if KGB agents ever made him such offer.
In 1988, he was posthumously re-instated into the Writers' and Cinematographers'
Unions. In 2003, the first memorial plaque for Galich was put up on a building
in Akademgorodok (Novosibirsk) where he performed in 1968. That same year, the
Alexander Galich Memorial Society was founded.
Alexander Galich, like most bards, had a fairly minimal musical background. He
played his songs on a seven string Russian guitar, which was fairly standard at the time.
He often wrote in the key of D minor, relying on very simple chord progressions and
fingerpicking techniques. He had basic piano playing skills as well.
88
Galich had a signature cadence that he would usually play at the conclusion of a song
(and sometimes at the beginning). He would play the D minor chord toward the top of
the fretboard (fret position 0XX0233, thickest to thinnest string, open G tuning), then
slide down the fretboard to a higher voiced D minor
LITERATURE
1.
Алаудинова Д. ОҒЗАКИ НУТҚНИ ЎСТИРИШГА ДОИР ЎТКAЗИЛГAН
ПЕДAГOГИК ТAЖPИБA СИНОВ НАТИЖАЛАРИ //O ‘ZBEKISTON
RESPUBLIKASI OLIY VA O ‘RTA MAXSUS TA’LIM VAZIRLIGI O
‘ZBEKISTON DAVLAT JAHON TILLARI UNIVERSITETI O ‘ZBEK TILI
VA ADABIYOTI KAFEDRASI. – С. 187.
2.
Алаудинова Д. ОҒЗАКИ НУТҚНИ ЎСТИРИШГА ДОИР ЎТКAЗИЛГAН
ПЕДAГOГИК ТAЖPИБA СИНОВ НАТИЖАЛАРИ //O ‘ZBEKISTON
RESPUBLIKASI OLIY VA O ‘RTA MAXSUS TA’LIM VAZIRLIGI O
‘ZBEKISTON DAVLAT JAHON TILLARI UNIVERSITETI O ‘ZBEK TILI
VA ADABIYOTI KAFEDRASI. – С. 187.
3.
Алаудинова Д. ОҒЗАКИ НУТҚНИ ЎСТИРИШГА ДОИР ЎТКAЗИЛГAН
ПЕДAГOГИК ТAЖPИБA СИНОВ НАТИЖАЛАРИ //O ‘ZBEKISTON
RESPUBLIKASI OLIY VA O ‘RTA MAXSUS TA’LIM VAZIRLIGI O
‘ZBEKISTON DAVLAT JAHON TILLARI UNIVERSITETI O ‘ZBEK TILI
VA ADABIYOTI KAFEDRASI. – С. 187.
4.
ALAUDINOVA
D.
PEDAGOGICAL
PRACTICE-TEST
RESULTS
ASSESSMENT CRITERIA, QUANTITY AND QUALITY MULTIPLIER
ANALYSIS //ЭКОНОМИКА. – Т. 8. – С. 7-10.
5.
ALAUDINOVA
D.
PEDAGOGICAL
PRACTICE-TEST
RESULTS
ASSESSMENT CRITERIA, QUANTITY AND QUALITY MULTIPLIER
ANALYSIS //ЭКОНОМИКА. – Т. 8. – С. 7-10.
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