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Библиогр.: 20 назв.

Рассматривается малоизученная в этномузыковедении проблема поведенческих стереотипов певцов – участников ритуального действия. Пространственное поведение исполнителей во время проведения обряда, общепринятые при пении позы и жесты как невербальный язык культуры исследуются на материале удмуртской обрядовой песенной традиции. Обосновывается вывод о воздействии природного ландшафта на формирование этнической психологии. Сравниваются особенности поведения носителей традиции при речевом общении и в песенной ритуальной коммуникации. The problems of non-verbal behavior remain in the shadow of the modern ethnomusicology so far. Meanwhile, spatial behavior of singers, the poses and gestures used by them during the singing are language of culture, not less informative, than musical and verbal language, but at the same time more emotional, expressive and available. Gesture as body language is usually associated with the movement of the arm, palm, head, shoulders, legs. In the present study, we operate with the broader meaning of the word “gesture” as a behavior (from Lat. Gestura). The spatial behavior of performers during the ceremony, the generally accepted postures and gestures as non-verbal language of culture are discussed in the article on the material of the Udmurt ritual song tradition. The forest landscape influences the behavioral, as well as linguistic, religious, sound picture of the world of the Finno-Ugrians. The connection between the natural geographic environment and the “mental warehouse” of the Udmurts was observed by ethnographers as early as the end of the 19th century; they noted restraint in expressing impressions, silence, extraordinary shyness and the boundless ability of Udmurts to endure. The same is noted by modern scientists. In speech communication, for example, there is an unspoken rule not to express loudly and openly your emotions; it is not customary to actively gesticulate, to speak loudly. The findings of scientists suggest that the Udmurt communicative culture belongs to the low-kinesic. The stereotypes about the modesty and timidity of the Udmurts collapse when analyzing the Udmurt rituals, in which the idea of producing magic dominates to extend the genus or future harvest. Many behavioral prohibitions are not only lifted; moreover, obscene gestures, indecent behavior are becoming a necessary condition for rituals. Singers can stomp their feet heavily, beat the rhythm with loud beats of iron objects, sing while standing on chairs. In other local traditions, the magic of production can be embodied in the body language of singers in slow rocking, round dances. The key moment of the spatial behavior of the singing participants of these rites is a side-to-side movement as a symbol of the growth of cereal crops. Ritual gestures of a handshake, bowing of the knees as communicative gestures are considered in the article. Other gestures of singers (alternating between the left and right foot subhemps, putting the palm to the mouth while singing) are designed to enhance the expressiveness of the musical rhythm or create a special sound effect. It is concluded that the song ritual communication of the Udmurts, in contrast to everyday verbal communication, is characterized by a higher level of emotionality, which is reflected in body language.