For the subject of our conversation this phrase is most relevant. Least because the concept of 'special, sheer enthusiasm of life' could well become one of the defining criteria for assessing what is happening in the past decades in one of the most popular synthetic genres of art – singing. In general terms, this process can be characterized as a complex coexistence of folk songs, the official Variety and genres, sources opposing platform. Without going so far into the essence of this complex phenomenon, we note the obvious: in terms of development of modern poetry is interesting items related to the underground, first author (Bard) song and rock and poetry. Anticipating a brief overview, we also note that no matter how unlike the first steps of these two genres of Russian musical and poetic lyrics, now at the turn of the century, the degree of mutual integration makes it almost impossible to 'isolated' conversation. 1960s are characterized not only by the fact that the genre has become a truly mass (clubs amateur song throughout the country totaled 2 million people, were grandiose festivals near Samara to one hundred thousandth the audience of listeners), but the fact that with the advent of bright creative personalities as Vladimir Vysotsky and Alexander Galich, independence and opposition to this motion with respect to the official art became especially apparent, and poetics greatly enriched.
In general, the 1960s can probably be considered the time final approval of the bard as a separate course in the domestic arts. Like any historical phenomenon is their 'core', a period that determines the fate of this phenomenon and original songs was such a crucial period – the 1960s. It was on his material, and should start talking about her deep pulses and patterns. Bard is still the subject of ongoing debate. Its opponents claim of self-worth and worthlessness of the poetic word music 'props' to him, the defenders back offer them try to achieve a harmony of words and melodies, like the bards; opponents deep into the poetry and expose a simple syntax and weak metaphors of art song, defenders deep into history and remind syncretism of the original lyrics.
Note that the last claim to the bards is becoming less relevant: it is enough to bring in an example of a very metaphorical, and in this sense is characteristic of the 1990s, poetry AM Shcherbakov. Quite logical question: what about 'role' songs – even the whole cycle! – Galic, Wysocki and others? Indeed, Vysotsky sang on behalf of the driver, athlete, mentally ill, sophisticated intellectual Galich transform in the near Klima Kolomiytseva Petrovich – a trade union activist … But, oddly enough at first glance, it's not even 'exceptions to the rule', but just a different level of the same pattern. The lack of acting at this level there is no alienation. 'I' author here extends and is attached to another 'I', absorbing it and making it part of yourself. The careful listener, the reader will not escape the fact that Galich, and Vysotsky understand their hapless heroes compassion for them, feeling the community, by and large kinship with them in an unfree and absurd world. However, the analyzed property – is common to all true art, only in the author's song is 'vbiranie other life' by laws of the genre more clearly, more directly felt the perceiver.