Sipos János Kirgiz 2.Indd

János Sipos KYRGYZ FOLKSONGS JÁNOS SIPOS KYRGYZ FOLKSONGS Institute for Musicology of the Research Centre for the Humanities of the Hungarian Academy of Sciences – L’Harmattan Budapest, 2014 English translation by Judit Pokoly Most of the material in the book was recorded by János Sipos in Kyrgyzstan. Kyrgyz text transcribed from recordings and translated to Turkish by Gülzura Cumakunova Turkish text translated to Hungarian by Éva Csáki The Kyrgyz expeditions were supported by the Stein-Arnold Exploration Fund of the British Academy and the National ScientiÞ c Research Fund, OTKA program №67997 The publishing of the book was supported by the OTKA, National ScientiÞ c Research Fund program №111114 © Institute for Musicology of the Research Centre for the Humanities of the Hungarian Academy of Sciences, 2014 © János Sipos, 2014 Translation © Judit Pokoly, 2014 © L’Harmattan, 2014 L’Harmattan Hungary: L’Harmattan Könyvesbolt Párbeszéd Könyvesbolt 1053 Budapest, Kossuth L. u. 14–16. 1085 Budapest, Horánszky utca 20. Tel.: 267-5979 www.konyveslap.hu [email protected] www.harmattan.hu Editor in chief: Ádám Gyenes Contents PREFACE . 7 KYRGYZ EXPEDITIONS, KYRGYZSTAN, THE KYRGYZ PEOPLE . 9 On the ethnogenesis of the Kyrgyz people . 11 Hungarian researchers around the Tien-Shan . 14 My folk music collecting trips to Kyrgyzstan . 16 PRECEEDINGS OF THE KYRGYZ RESEARCH . 25 Bartók’s Anatolian collecting work . 26 Hungarian, Finno-Ugrian and Turkic folksongs . 27 On earlier Kyrgyz folk music research in a nutshell . 32 GENRES, FORMS, SCALES OF KYRGYZ FOLKSONGS . 34 Musical characteristics of Kyrgyz songs . 34 Kygryz instrumental music and instruments . 40 Kyrgyz epic art . 42 Toktogul Satõlganov and the Kyrgyz folksongs . 44 CLASSIFICATION OF KYRGYZ TUNES . 48 1. Twin-bar tunes (ex.1-11, №1-58) . 49 Twin-bar tunes based on the G,-C bichord . 49 Twin-bar tunes based on rotating motifs . 50 Twin-bar tunes with descending/hill-shaped lines . 54 Motifs with a downward leap at the end of the line . 55 Motivic processes . 57 2. Tunes moving on Ionian scales (ex.12-24, №59-164) . 61 Laments and their relatives . 61 Two-lined tunes of major character with higher main cadences and their four-lined relatives . 67 Four-lined tunes of major character . 72 3. Aeolian tunes (ex.25-36, №165-238) . 76 Laments and related tunes . 76 Aeolian tunes with higher main cadence . 79 Four-lined tunes of minor character . 81 Valley-shaped, ascending or undulating Þ rst line . 85 6 CONTENTS 4. Caramazan religious tunes (ex.37-41, №239-326) . 89 Ionian Caramazan songs . 90 Aeolian Caramazan tunes . 94 Caramazan processes . 97 5. Tunes of domed structure (ex.42-43, №327-332) . 98 Domed Aeolian tunes . 98 Domed Ionian tunes . 99 ANTHOLOGY OF KYRGYZ FOLKSONGS . .101 KYRGYZ SONG TEXTS AND THEIR ENGLISH TRANSLATION . 296 A MUSICAL MAP OF DIFFERENT TURKIC-SPEAKING PEOPLES . 379 INDEXES . 385 BIBLIOGRAPHY . 409 PREFACE Research into the musics of eastern ethnicities authenticated by on location collecting work has great traditions in Hungary – sufÞ ce it to mention Béla Bartók’s Anatolian and László Vikár’s Cheremiss, Chuvash, Tatar and Bashkir materials. I have also joined this strain of research with my Anatolian, Kazakh, Kyrgyz, Azeri, North Caucasian Karachay-Balkar and Turkmen expeditions and publications over the past 26 years. At the beginning, this work concent- rated on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, my researches got enlarged into a compar- at ive ethnomusicological analysis of a vast Turkic-speaking territory. My research focuses on ethnic groups of various Turkic tongues, but it avoids being monotonous since the musics of these groups can largely differ, and their musics are differently interrelated than the languages. The research of the Turkic-speaking area thus sheds light on a complex musical world, of- fering conclusion that may have relevance to the interpretation of the Hungar- ian and some other folk music. The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications speciÞ cally highlighting it. The material of the book is chieß y the result of my collecting efforts: the songs were recorded, notated and analyzed by me. My Þ eldwork in Issyk-kul, Narõn and Bishkek in 2002 was followed in 2004 by research aound At-Başõ and in Talas. I have read the accessible publications, and I transcribed and examined Dávid Somfai Kara’s collections containing tunes from southwest- ern areas. A few years ago I seemed to have enough reliable material of Kyrgyz vocal folk music to write the book Kyrgyz Folksongs. Experiencing the pace of the disappearance of Kyrgyz folk music, I realized it was the highest time to complete this research. Just like in many other parts of the world, in Kyrgyz villages and towns one encounters the destructive impacts of the presentday media society upon authentic folklore, aggravated here by the effects of the one-time Soviet empire. In Kyrgyzstan, except for laments, old tunes are only known by people above 65-70, and it often takes great patience and painstaking work to excavate them from their memory. It is truly the very last moment. In a few decades‘ time this generation will die 8 PREFACE out and with them even the memory of the old strata of Kyrgyz folk music will vanish. Actually, we can only collect relics of music today, too. It enhances the value of our endeavour that no areal or tribal research of this sort had been conducted in Kyrgyzstan earlier. The recorded material is well suited for linguistic and cultural analyses too besides musical examina- tions. Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main fac- tors of Kyrgyz ethnogenesis and the main views concerning them. I touch on the Hungarian researchers’ earlier Kyrgyz investigations and give a colourful account of my own Kyrgyz folk music collecting trips. Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradi- tion in researching Finno-Ugric and Turkic folk music. I list here the main old Hungarian folk music styles and examine their possible Turkic connections. Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. The genres, formal features of tunes, the rhythmic and tonal bases of Kyrgyz folk music are outlined. I touch on the Kyrgyz instruments, instrumental music, Kyrgyz epic works and the musical foundations of epic songs. Chapter 4 contains the classiÞ cation of Kyrgyz tunes. This is the most dif- Þ cult chapter to read but it includes the largest amount of novel information. The aim is to present the Kyrgyz folksong types, groups, classes and styles. A total of 94 representative songs are given to illustrate the tune groups, so the reader who attentively studies and possibly learns the melodies will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music. Chapter 5 is an anthology of 332 folksongs, providing an interpretive back- ground to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print. Chapter 6 contains the Kyrgyz song texts and their English translation. Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-Kama-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view. Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography. The last pages contain the list of the attached video recordings. KYRGYZ EXPEDITIONS, KYRGYZSTAN, THE KYRGYZ PEOPLE The former Soviet republic of Kirghizia (from 1997 Kyrgyz Republic) is situated in the heart of Central Asia, bordering Kazakhstan in the north, China in the southeast, Tajikistan in the southwest and Uzbekistan in the west (pop. 4,574,100, 198,400 sq km). The chief cities are Bishkek, the capital, and Osh in the south. Kyrgyzstan is a mountainous country in the Tien-Shan and Pamir systems, rising to 24,409 ft (7,440 m) at Pobeda Peak on the Chinese border. Ninety- four percent of the country is over 3,300 ft (1,000 m) above sea level, with an average elevation of 9,020 ft (2,750 m). Lake Issyk-kul lies in the northeast. The climate is extremely continental with great regional variations. Kyrgyzstan was the Þ rst of the Central Asian republics to acquire democrat- ic institutions. Governed under the constitution of 1993, it has a 105-member bicameral parliament. The president, elected by popular vote, is head of state. The country is divided into six administrative regions and the capital area. Map 1 Administrative map of Kyrgyzstan The Kyrgyz people speak a Kipchak Turkic language closely related to Ka- zakh. Along with the Kyrgyz language, Russian is de facto the language of com munication. 10 KYRGYZ EXPEDITIONS, KYRGYZSTAN, THE KYRGYZ PEOPLE Kyrgyzstan is a multi-ethnic state, and most of the population are Muslims. The Kyrgyz make up the biggest ethnic entity: half of the inhabitants are Kyrgyz. 21 per cent are Russians, their number was declining. Like Russian migrants from former Soviet republics, some didn’t Þ nd their place in Russia and keep returning, but no longer as privileged citizens of an empire.

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