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Abstract Book (2Nd Edition) INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC 43RD WORLD CONFERENCE ASTANA, KAZAKHSTAN 16-22 JULY 2015 ABSTRACTS Online Edition: Updated 15 July 2015 Alibi Abdinurov Session ID11 Popular Genres of Modern Symphonic Music of Kazakhstan. Some musicologists have shown an interest in one of the most popular genres of modern symphonic music of Kazakhstan, that of symphonic kui. Dzhumakovа’s work looks at the history of the formation of Kazakh symphonic music during 1920-1980; the work contains information indicating the appearance during those sixty years of symphonic kui. Kotlova has conducted research looking at how traditional kui can be used in different genres of professional composition creativity. Unfortunately, the topic we are interested in has not been covered in these proceedings. Description of this genre dedicated to the problem of the specificity of symphonic kui is contained in other studies. Thus, symphonisation of kui and orchestral incarnation of this traditional folk-professional genre in the works of composers of Kazakhstan remains poorly developed and not fully approved. We put forward a new problem, which is associated with the process of formation of symphonic kuis, with the study of the compatibility of the traditional form and the shape of kui symphonic works. I consider the phenomenon of symphonic kui to be a new genre in the works of Kazakh composers. New results will be received when comparing the features of traditional kui with symphonies in shaping and software. Study techniques in symphonic writing of kuis will be carried out in order to understand the importance of orchestration in shaping and imagery in more detail. The evolution of the symphonic kui genre should be noted. The first works of this genre in the works of Rahmadiev, its themes, software and content, were strongly associated with original folk. Symphonic kui created after the 1980s are different with new peculiarities – the author's approach to the themes, by saving all other characteristics specific to the genre. Gulnar Abdirakhman Session IIID9 (Panel) Genesis and Evolution of Musical Language of Kazakh Traditional Song Throughout the history of Kazakhstan ethnomusicology has returned to the study of traditional Kazakh song - the most common genre of the Kazakh people. The first ethnographic decrypts of Kazakh folk and oral-professional songs (Zataevich) date from the 1920s-1930s, since when several generations of scientists of Kazakhstan have devoted themselves to the study of this topic. The accumulated material and research practices allows summary of this long process and consideration of the peculiarities of historical development of Kazakh traditional song. Professor Yelemanova studied the ‘classical phase’ in the development of the Kazakh traditional song which is associated with the oral-professional song art of the nineteenth century. The focus of the author’s attention is the musical-expressive and semantic origins of Kazakh folk-professional song, its most important musical-lingual and compositional patterns. Abdirakhman’s report considers the socio-cultural preconditions for later transformation of musical-lingual characteristics of Kazakh traditional song formed in the ‘classical period’. The author emphasises that changing social conditions and status of Kazakh traditional song creators during the Soviet period became a crucial condition for the rapid transformation of traditional musical language. Limitation of the social environment of Kazakh song 1 bearers within the constraints of unprofessional mass-everyday music-making (amateur singing) defined the prevalence in the modern samples of Kazakh traditional song of stereotypical intonation formulas, simplified metro-rhythmical and tonal structure. Myltykbayeva’s report centres on the evolution of the musical-expressive means of Kazakh song from the standpoint of their reflection of martial and dance rhythms. The researcher relies on song material in the Kazakh language, by professional composers of traditional writing and amateur authors, and different style lines. The focus is the genre of waltz song formed in the 1940s, which became a ‘calling card’ of Kazakh song art of the twentieth century and continues to develop at the present time. Gulnar Abdirakhman Session IIID9 Kazakh traditional song in the Soviet period of society development Our national ethnomusicology referred continuously to the study of traditional folk and oral- professional songs. In the vision of the Kazakh scientists were: • a genre system, regularities of musical language and forms of the Kazakh traditional songs (B. Yerzakovich and S.Temirbekova, A. Baygaskina, B. Karakulov, S. Yelemanova, A. Berdibay, B. Babizhan, etc.); • the individual singing styles of oral-professional musicians of the 19th century (G. Bisenov, A. Sabyrov, N. Zholdas, etc.); • features of the songs social functioning in the traditional and modern society (S. Yelemanova, G. Kuzbakova); • features of the performing style (D. Amirov, B. Tleukhan, T. Nurkenov), and other topical issues in the study of traditional songs. The status of Kazakh Song and its evolution over the Soviet period of development of the Kazakhstani society attracted considerably less attention by the researchers, whereas this complex of problems is extremely topical. The author of these abstracts dedicated the monographic study devoted to these issues. As is known, beginning in the 1920s in connection with affiliation of Kazakhstan in the Soviet Union development of the Kazakh musical culture occurred in the framework of the new European model of musical culture of the society. Socio-cultural modernization led consistently to the gradual extinction of the cultic-ritual music. And non-cultic song genres - lyrical songs, lullabies, hortative songs, dedication songs, praising songs, etc., which having been produced in the different socio-cultural environment - within amateur (avocational) music-making. Despite the deep genetic relationship of amateur song creation with native national forms of Kazakhs’ communication songs, the poetic and musical aspects of amateur songs is considerably modified in the most cases. Motivation of creativity as well as some of the principles of musical thinking are changed, which become reflect the ideology of the Soviet era and eurocentric trends in the new cultural policy of the State. Non-professional status of creators and bearers of Kazakh traditional songs of the Soviet period defined the predominance in it of the stereotypical intonational formulas, simplified metro-rhytmic and tonal structure. Moreover, as the analysis of popular song samples of amateurs shows, on retention of genetic ties with the Kazakh traditional song, therein a radical renovation of tonal logic of the song melodies development occurs. Functional and dynamic relationships discover an “inaction” of the basic for Kazakh monodic culture principles of modal organization and highlighting the regularities of European homophonic-harmonic system. Dauresh Akhmetova Session VIC12 Kazakh Songs of the Masses: Genesis, Typology, History The report examines the history of the development of Kazakh mass songs. Keywords: mass music, a revolutionary song, terme, maktau, tolgau, zoktau, lyric song, military songs, songs and calls. Kazakh- Turkic-speaking people. His music reflects his mentality. In the 20th century, Kazakhstan was the forcible change of the nomadic way of life to settle down. This is reflected in art. Now, at the time of independence of Kazakhstan there was a change of ideology, borders opened, leaving the isolation of national culture from world processes, the tendency to return to universal values, with emphasis on 2 the country-specific features. In the 20th and 21st centuries, advances in science and technology have an important influence on the form, the content of art. An example is the history of the development of Kazakh mass songs. Popular music in the past occupied an intermediate position between folk and classical music. In the history of the development of Kazakh mass songs stood out three stages: revolutionary and folk song; song of soviet; a pop song and mass art. Modern Kazakh mass song was born, based on folklore, which has retained strong links with to date. The Kazakh people have the collective songs. As we found out the collective songs were in the rituals of the wedding (zhar-zhar, synsu), the funeral (zoktau) cycles, songs and games the youth and the children. They were also among the labour and tribal songs. One variant prevailed in collective songs. These songs were even on a rhythm. They are based on simple and short melodies. The repeated, couplet form, coincidence of syllables of text with the sounds of melody is characteristic. The first modern Kazakh mass songs reflect the news of the people's livelihood. The authors of the new songs have become classics: A. Zhubanov, E.Brusilovsky, L.Hamidi, B.Yerzakovich, M.Tulebayev, B.Baikadamov, N.Tlendiyev, S.Mukhamedzhanov. They have created a new model of art. The entire history is characterized by the development of new images and new genres. Kazakh composers who have mastered the basic genres of songs created a vibrant national varieties of all main song genres. Rakhat-Bi Abdyssagin Session IIIA10 Ethnicity through the prism of modernity This paper examines the correlation between the great reservoir of ethnic music and contemporary classical music. Music is a universal art, a memory and pride of the public domain. Ethnicity exists with a covariant layer of culture, requiring
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