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Man In India, 96 (11) : 4651-4664 © Serials Publications

ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE: PAST AND PRESENT

Zaure Smakova*, Aigerim Karsakbayeva*, Assel Rakymzhan*, Galiya Кalymova*, Saltanat Kudaibergenova*, Anatoly Gaissin* and Almagul Takisheva**

Abstract: At the beginning of the XXI century, Kazakh traditional musical art is an ancient and archaic, simultaneous and modern, developing phenomenon. The musical tradition, and instrumental, showed a surprising resilience and the ability to change. This paper attempts to describe the essential features of Kazakh traditional instrumental and song culture, associated with their origin and evolution. The paper discusses the history of musical traditions in the Republic of , the characteristics and features of traditional Kazakh as well as the development of ethnic traditions at the present stage.The analysis of Kazakh musical traditions revealed that the nomadic people had a huge variety of musical instruments - wind, stringed, plucked etc. The result was a high level of instrumental performance. Keywords: Musical tradition, kui, zhyrau, , .

INTRODUCTION The period since gaining the independence of the Republic of Kazakhstan until present is marked by tangible accomplishments in the political, economic, social and many other fields, including musical folklore and musical art in general. The study of the past with the aim of learning lessons for the future is a characteristic feature of the modern social sciences. In this respect, at the beginning of the XXI high-tech century the musical is still of particular interest. The issue of Kazakh ethnomusical traditions has been addressed in a considerable amount of literature. The first works on the importance of music, having the prevailing artistic values, appeared in the Middle Ages. In the XI century, the works of al-Farabi were translated into Latin. By the XV century, the tractate of al-Farabi The Great Book of Music (2007) came to be known in almost all European countries. Around the same time, The Tractate on Music of another Arab thinker, Abdur-Rahman Jami (1999), became widely known. In addition, a valuable source for studying the history of musical culture in Kazakhstan is the works of Mahmud Kashgari (2011), Yusuf Balasaguni (1989) and Darvish Ali (2001). The merit of Central Asian philosophers and poets lies in providing the descriptions of musical instruments, which were widespread back in those days. Their works considered such instruments as , tambourine, surnai, shohrud etc.

* Kazakh National Conservatory named after Kurmangazy, 050000, Kazakhstan, Almaty, Abilay Khan Ave., 86 ** Specialized High School №92 named after Mahatma Gandhi, A05G0M2, Kazakhstan, Almaty, Panfilova Str., 205 4652 MAN IN INDIA

A number of works, especially those of Western scholars, have a general character. In particular, these are the work by W. Malm (1977), dedicated to Central and Central Asian musical traditions; the work by S. Donchev (1995) on Central Asian culture and art; the multivolume work by E. Kostkoff (2008) of musical art in Central, South and South-East Asia, the monograph by T. Vyzgo (1980) Musical Instruments of . Of particular importance in the study of Kazakh national culture are the works by Kazakh scholars - A. Zhubanov (2001), B. Yerzakovich (1987), B. Sarybayev (2005), B. Amanov (2002), A. Mukhambetova (2002), S. Sh. Ayazbekova (1999), S. Raimbergenova (2015), G. Omarova (2010), G. Abdrakhman (2011), T. Dzhumaliyeva (2010) and others. The results of multi-year research have required a substantial reconsideration of views on traditional Kazakh musical art. In this respect, the objective analysis of both the cultural situation in Kazakhstan as a whole and the current fate of individual genres of Kazakh musical art is still relevant. The novelty of the paper lies in the fact that it investigates the history of the formation of Kazakh musical culture in an aggregate of all its components. This paper is the first to provide the general characteristic of the development of Kazakh national music and to conclude its important role as a forerunner of modern musical art. The consideration of the problem of Kazakh ethnomusical traditions predetermines the formulation of the following research objectives: - To determine the cultural-historical conditions for the appearance of musical traditions in Kazakhstan; - To identify the specificity of traditional Kazakh music; - To consider the characteristics and technique of performance on a variety of musical instruments; - To explore the interaction of ethnic music and modern forms of musical art. To achieve these objectives, it is expedient to apply complementary methods that reflect a comprehensive approach to solving problems and include historical, systematic and comparative methods. The research used materials from different areas of knowledge - history, philosophy, cultural studies, literary studies, and religious studies. The methodological basis of the article was also formed by the traditional analytical methods of .

THE HISTORY OF MUSICAL TRADITIONS IN KAZAKHSTAN In Kazakhstan, of widespread use is authentic musical culture that was created by the ancient tribes and peoples who participated in the ethnogenesis of the , which in turn multiplied rich cultural traditions of their ancestors. ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4653

The basis of the musical culture of the Kazakh people was formed by improvised epic works, performed by the narrator to the accompaniment of folk instruments. The origins of Kazakh and allied traditional music of other go back to ancient times - the end of the first millennium BC. It was also mentioned in ancient written sources (Avesta, Chinese and ancient chronicles), and corroborated by archaeological excavations. It is difficult to judge about music as such because of the lack of written music bibliography, but the similarity of lifestyle, a striking unity and widespread occurrence of “animal style” art, the monuments of which are found in the mounds in vast areas, make it possible to draw a conclusion on single proto-musical roots. By virtue of the traditional character and immutability of the nomadic lifestyle, a huge role was played by mythological consciousness, which had become a basic part of traditional culture. The sacredness of the musical language is directly related to other arts and should be seen in this indissoluble unity. At the same time, the connection between different types of art was carried out through the minister of religion - shamans, bakshy. The unity of music, poetry and magic of the Kazakhs is connected with the image of the first shaman-bakshy and Korkut. According to legend, 20-year-old Korkut had a dream about a man, dressed in white, who predicted his death at the age of 40. In search of immortality, Korkut traveled around four corners of the earth on his winged camel Zhelmae, but everywhere he met people, who were digging a grave for him. After returning to the shores of his native , Korkut was day and night playing kobyz covered with the skin of sacrificed Zhelmaya. His playing attracted not only all earthly beings, but also Death. However, as long as Korkut’s kobyz was sounding, Death was powerless. But once Korkut fell asleep, Death, taking the form of a snake Kairak-jylan, bit him. Nevertheless, Korkut did not die;being neither alive nor dead,he became the Lord of the lower waters and since then has helped all shamans do good to people (Robbins, 2008). At an early stage of development of the Kazakh community, music was entirely subordinated to the service of the utilitarian needs of the ancient nomadic people and accompanied all the major religious and household ceremonies. For example, major epics (zhyr), which appeared during the formation of the Kazakh ethnic group, were performed by zhyrau (epic tradition bearers), and were originally linked to the delivery of military magic and ancestor worship. Folk memory preserved over a hundred stories, each of which had thousands of poetic lines, performed to the accompaniment of kyl-kobyz – a stringed with two horsehair strings, or dombra – a plucked instrument. Being one of the most popular genres of folk arts, heroic and lyrical everyday epics “Koblandy”, “Er Targyn”, “Kambar”, “Kyz Zhybek” and many others have brought us real historical events of Kazakh history in the legendary and mythological form. 4654 MAN IN INDIA

The form that combines Word and Music is dominant in Kazakh traditional musical art. Initially, instrumental music has been linked to various spheres of the life of the Kazakhs: by a shamanic , dance, military-hunting activity, epic. However, only the last branch associated with verbal folklore, according to Jonathan McCollum (2011), led Kazakh instrumental music to flourishing. An important role of folk music in Kazakh life is reflected in numerous ancient myths and legends, which indicates the deep historical basis of this cultural layer. Mukhtar Auezov, a well-known Kazakh writer and playwright, wrote about Kazakh culture as follows: “The Kazakh nation, a tragic wanderer roaming steppes and centuries in search of happiness, could not leave us the monuments of architecture, sculpture, or painting. Nevertheless, it has left us the most precious monuments of artistic word. The nation-singer, the nation-poet with all the strength of its inherent poetic genius expressed its spirit in the immortal creations - in epic poems and various folk ” (Roland & Auezov, 2012). In Kazakh folklore, little can be compared to the depth and beauty of the songs of akyns and zhyrau. The create work of Kazakh poets-improvisers - zhyrau - is one of the significant phenomena of Kazakh national musical culture. Their performances, which took place at the Khan’s council or national assembly, had the form of improvisational philosophical reflections - tolgau. Recitative singing to the accompaniment of kobyz or dombra significantly facilitated the performance ofzhyrau. Zhyrau in their poetry praised the dedication and heroics of warriors (“Alpamys”, “Koblandy-batyr”, “Er-Targyn”, “Kambar-batyr” etc.), singing about the life of the people (“KozyKorpesh and Bayan-Sulu”). Despite the fact that they paid attention mainly to the issuesof rallying the tribes, their works also touched the themes of ethics and morality. The performance of epic storytellers was always distinguished by their high artistry. It should also be noted that narration and slowness, which is inherent, for example, in Russian epic storytellers or Ukrainian kobzars, is totally unacceptable for zhyrau. Rehashing epics, they portrayed their epic characters using expressive movements, gestures, facial expressions (Ayazbekova, 2009). The Russian researcher A. Levshin, who had heard zhyrau playing at the beginning of the XIX century, wrote, “Eloquent storytellers are able to decorate novels by similes and nature-imitating words: they imitate the voices of different animals with their own voices, complete the description by body movements and, sympathizing with their characters, take the most active part in them” (Dzhumalieva & Temirbekova, 2000). The creative work of zhyrau combined the elements of not only vocal and instrumental but also theatrical art. Therefore, S. Kaskabasov (2012) attributes the creativity of poets-improvisers to the initial form of Kazakh theatrical art, calling their performance a one-person show, a kind of the germ of the theater. ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4655

However, perhaps one of the most significant phenomena of Kazakh traditional music is the improvisational-competitive art – aitys. Its main content is the ridiculing of disadvantages of the enemy’s generation by akyns, and the exaltation of own generation. Initially,aitys was regarded not only as a result of the musical and poetic work of creators-improvisers, but also as a manifestation of the higher mysterious powers. Therefore, the success of akyn is also the victory of guardian spirits of his generation (Chadwick & Zhirmunsky, 1969). It is no accident that akyn, as a conductor of the unearthly, should comply strictly with all the traditional beliefs intended for the musician: to put dombra under his head during sleep, to spend a night at a fork in the road etc (Fane & McCormack, 2012). From the participants, aitys demanded an immediate reaction, sharpness and brightness in making their statements. In this sense, aitys is a typical indicator of the national mentality of the Kazakhs. As opposed, for example, to the , characterized by seclusion and restraint in the expression of feelings, the Kazakhs are temperamental and dynamic in their emotional reactions (Fossum, 2010). An important place of music in Kazakh life is explained by the feature of the civilization to which this ancient national character is referred. Nomadic civilization in view of its mobility and corresponding living environment could not develop those genres of art that require residence and urban life - monumental architecture and sculpture, the genres of theatrical art etc. It is this reason that served as a prerequisite for the development of the oral artwork. That is why all the spiritual and cultural power of nomadic civilization was centered in Music and Word. In addition, maybe in view of this, none of the nation, standing on the same stage of development as the Kazakhs, has given so much attention to musical art.

SPECIFICITY OF KAZAKH TRADITIONAL MUSIC AND MUSICAL INSTRUMENTS Currently, more than twenty types of Kazakh musical instruments are known. They are divided into five main groups: stringed, wind, reed, percussion instruments and instruments with the use of bells. The essence of traditional instruments, their originality and functioning is determined by the nomadic and pastoral lifestyle of the Kazakhs, their nomadic customs, the specificity of their outlook, the peculiarity of thinking and the psychology of aesthetic perception. Yusuf Balasaguni (1989) in his poem Kutadgu Bilik spoke about qobuz (kobyz). It was also mentioned in The Sutra of Golden Light (1990) Mahmud Kashgari (the XI century) noted several types of musical instruments, which were used by the ancient Turks: qobuz–kobyz;tümrük - tambourine (Kashgari, 2001). The interesting information on music and ancient instruments is contained in the great tractate on music by Abu Nasir al-Farabi (870-950). It systematized and 4656 MAN IN INDIA described a number of musical instruments, known at that time: kobyz, kanun ud, tsimbal (chang), tambur, rabab, dabyl, dangyra (The Great Book of Music, 2007). The description of musical instruments can also be found in Bukhara Treatise on Music by Darvish Ali, dating back to the XVII century and consisting of theoretical and historical parts. This treatise focuses on the origin of music and gives information about such instruments as kobyz, sybyzgy, surnai, dabyl, nai (Darvish, 2001). In the opinion of V. Malm (1977), kobyz is the oldest bowed stringed instrument in the world, which has spread far beyond the nomadic world of Central Asia and become the ancestor of all European bowed stringed instruments (, cello etc.). Special bowed stringed instruments, which preserved to our day, were found in Central Asian . In these instruments not only bows but also strings were made of horsehair, and the lower front part of the body, or sometimes the entire body, – of skin. This is the Kazakhkobyz, the Kyrgyz kayak, the Mongol moorinhur, hur, hochir, the Tuvinianigil, the Altaiand Tuvan toshpuluur. Perhaps the Kazakh word kobyz has a common basis with the ancient Turkic word ekama (еk + a + mа) – “a musical instrument, a violin kind”, recorded in the dictionary by Mahmud Kashgari (2011). These instruments combined such features as a thick, matte, low mysterious tone, an arched bow with loose horsehair, common ways of flageolet play and a vertical position while playing. Among them, the Kazakh kobyz combines the most ancient features: its curved shape has retained a connection with the military or hunting bow. The friction between horsehair strings of two bows, according to the Bulgarian scientist Slavi Donchev (1995), was a prototype of playing stringed instruments. Such musical bows were used also among the peoples of the Volga region. Kobyz was made of a single piece of wood. This is one of the oldest methods of instrument manufacturing in the history of mankind. According to ancient beliefs of many peoples, only a single piece can remain an alive, singing soul of the tree, sounding in an instrument. The hollowed body of kobyz, its lower part tightened with a leather membrane, an arched neck without a fingerboard, an arched bow, two strings of non-woven horsehair,a head with metal pendants (rings, bells, plates), kobyz strings of 30-60 untwisted horsehairs, which give a very dense timbre, rich in overtones - all this is indisputable evidence of ancient times. The instrument was often encrusted with bone, and a mirror was inserted into the open part of the body. The mirror served as a conductor connecting the physical and subtle worlds. In this regard, among the Kazakhs in ancient times the right to play kobyz belonged only to a shaman - baksy. Thus, kobyz became part of the magical ritual, and shaman was needed to communicate with other dimensions. The form of kobyz resembles a swan taking off. Interestingly, many scientists, referring to the construction of the old instruments of different nations, noted ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4657 a number of imprints of cosmogonic concepts and phenomena - solyarism, anthropomorphism, animal worship. Explaining the similarities of kobyz with a swan, the academician A. Margulan wrote, “... the Kazakhs believe that the purest sound in nature is the cry of a swan, and in order that kobyzcan sound melodic, it is made resembling a swan. This form of kobyz as a magical instrument is partly connected with a cult of the swan (akku), which in general was one of the ancient totems of the Kazakhs (Margulan, 2006). The history of dombra and sybyzgy instrumental traditions goes back centuries. Archaeological discoveries became evidence of the ancient origin of dombra music. For example, during excavations in Khorezm, the terracotta figurines of , playing two-stringed plucked instruments, were found. Scientists note that the Khorezm two-stringed instruments that existed more than two thousand years ago have an undeniable typological similarity with the Kazakh dombra, and were one of the most common instruments among early nomads, who lived in the territory of Kazakhstan (Kostkoff, 2008). Dombra was made by rule of thumb. Its quality depended on the skill level of the master and the material - fir, plane tree, maple, linden. The body of dombra had very diverse shapes: oval (sometimes tapering towards the neck, sometimes – in the opposite direction), triangular, resembling the Russian (but narrower), pear-shaped, flat. There are also dombras with the bloated middle of the body narrowing on both sides (to the neck, and vice versa). Dombra in Kazakhstan can be of two kinds: in the west and south-west - with an oval body, the elongated part of which - 275-290 mm - reached the junction with the neck, with the width in the middle –170-195 mm, with the length of the neck – 430-450 mm. In the east, north-east and central Kazakhstan,there are dombras mainly with a triangular body 300-320 mm long and 180-200 mm wide (at the very base of the triangular body), and with a thick short neck of 300-325 mm (Fergus& Jandosova, 2003). The Kazakh dombra of all kinds has , bandaged with gut strings in two or three girth. Their number in the West Kazakhstan dombra reaches 12-15, in the East Kazakhstan dombra– from 7 to 9. Two strings of dombra were made from and goat intestines. The manner of playing dombra has its own distinctive features, which are dependent on the technique of the right hand. The western performance style tokpeis characterized by producing sounds on both strings by vigorous hand strokes, while the eastern style shertpe–by soft plucking of the strings. The most archaic examples of dombra music are kui-legends – “Akku” (“Swan”), “Nar” (“Camel”), “Kaz” (“Goose”), kui-laments – “Zarlau” (“Lament”), “Zhorga Ayu” (“Bear-pacer”), “Zhetym Kyz” (“Orphan Girl”) and others (Harris & Pease, 2015). All they have retained the echoes of the ancient forms of religion, worship 4658 MAN IN INDIA and totemic representations of the nation and still carry a living history of the millennia gone silent. Traditional Kazakh instruments also include sybyzgy, which is identical to the Uzbek nayu and the Kyrgyz sybyzgy-nayu. Sybyzgy, which is translated as “cane”, was considered the favorite instrument of shepherds. Its manufacture did not require much time – 10-15 minutes for an experienced master. For this purpose,a cane 500-700 mm long was cut, wherein three-four playing holes were made. Before playing, the hollow space of sybyzgywas wetted with water for a better sound. In addition to cane, the material for the manufacture of sybyzgy could include wood (barberry, mulberry, dried apricot) as well as metal (copper). The diatonic scale of sybyzgy depended on the length of a cane, the number and location of holes. The instrument with three holes included four basic timbres, each having five overtones. Thus, sybyzgy with three holes made it possible to produce twenty sounds. The greatest range –a thirteenth through an octave - is divided into three registers: lower, middle and upper. The manner of playing sybyzgy is usually quite simple. By closing the playing holes (by half or entirely) and changing the air pressure, the sybyzgist adjusts the pitch of the sound. Sybyzgy has a unique peculiar tone – matte-whistling, but not sharp, and full of different shades, which, coupled with the melodiousness of this wind instrument, add sa special penetration and expression to any performed work, be it a pastoral tune, a folk song or akui. Shankobyz refers to the group of reed instruments. It is a small-sized metal instrument that looks like a lyre with elongated tapered ends, between which there is a rod. The end of the rod is bent at an angle close to a right angle and serves as a lever, which creates rod vibration. The other end of the rod is attached to the rim. The instrument is slightly pressed against the teeth so that nothing could prevent the free vibration of the rod. The oral cavity serves as a resonator during playing. When playing shankobyz, a real two-voice texture arises. The number of vibrations of the rod is unchanged, which entails the formation of the bourdon sound. The pitch of the second voice depends on the volume of air in the oral cavity. The volume of air is determined by the movements of the tongue, lips and throat. The best sounding registers are lower and middle. In these registers, the instrument produces a nice original timbre. Sad and melodious songs are well suited to its chamber gentle sound. Many ritual chants are devoted to bride ceremonies, such as “Kyz Zary” (“Bride’s Lament”), “Kyz Uzatu” (“Farewell to the Bride”), “Kyz Muny” (“Bride’s Sorrow”). As a rule, mainly women played shankobyz. One of the oldest multistring plucked instruments is zhetіgen. The ethnographic articles and notes of travelers of the XVIII century presented evidence that this instrument under the name zhetygen, etige, etigan, yataga, dzhatygan was common among the Turkic peoples, the inhabitants of the western part of . Researchers ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4659 gave a precise description of the design features of an ancient seven- zhetygen, noted its similarity with gusli, harp, (attention was paid to its unusually soft sound). It was easy enough to reconstruct this almost extinct ancient instrument according to the descriptions provided, since its structure was primitive. Many hypotheses about the origin of stringed musical instruments are based on the legends of the Kazakh people. We have already mentioned the legend of Korkut associated with the formation of kobyz. In Kazakh folklore, there is also an origin tale about a seven-string zhetygen. In ancient times,an old man lived in a village. He had seven sons. One cold winter people were left without food because of the jute, and the death one after one took all his sons. After the death of the eldest son, Kania, the heartbroken old man carved out a piece of a withered tree, pulled on a string, and putting it on the base, performed a kui-lament “Қарағым” (“My Dear”).After the death of the second son named Torealym, the father, pulling on a second string, playeda kui “Қанат сынды” (“Broken Wings”). He devoted the kuis “От сөнер” (“The Extinguished Flame”), “Бақыт көшті” (“Lost Happiness”), “Күн тұтылды” (“The Extinguished Sun”) and “Ай құрыды” (“The Vanished Moon”) to his sons Zhaykeldy, Beken, Hauas and Zhulzaru. After the death of the last son, Kiyas, the old man pulled on a seventh string and played a lament for all his sons“Жеті баламнан айрылып, құса болдым” (“Having lost seven sons, I have become blind”). These improvised melodies were developed further and came to us in the form of instrumental music pieces-kuis under the title “Жетігенніңжетеуі” (“Seven kuis of zhetygen”). In addition, a number of wind instruments have existed among the Turkic peoples since ancient times. Researchers point to the eastern origin of wind instruments, which were found among the peoples of Central Asia. The name syrnai is a common term applied to various types of musical instruments. Among many peoples,wind instruments are called as follows: sur, surma, zurma, zurna, surnai, sarnai, nai, nei, syrbasnai. To distinguish wind instruments,the general name syrnaiwas accompanied by an additional word associated with the design structure or the material from which an instrument was made, and sometimes with the production of sound. For example, kamys syrnai–a reed instrument, muyіz syrnai – a instrument, saz syrnai–an instrument made of clay. These instruments had a diatonic system. Their range varied from thirds to octaves. The most widely used were ocarinas with three or four playing openings. The antiquity of the origin of this instrument was proved by archaeologists in 1971 during the excavation of the city of Otrar, where they found a small hollow clay object as large as a goose egg with two small holes in diameter, placed on opposite sides. It turned out that this ancient musical instrument was saz syrnai (Jansen, 2012). 4660 MAN IN INDIA

A clay musical instrument uskіrіk is a small hollow clay vessel, which resembles the silhouette of a flying bird. The length of an old sample of this instrument was 120 mm, its height - 58 mm, the diameter of a blowing hole - 7 mm, a right finger hole - 5 mm, a left finger hole - 4 mm. The name of the instrument uskіrіk(a whistle) is connected with the fact that it sounds like the wind whistling in the bitter cold. The timbre ofuskіrіk is close to the timbre of sazsyrnai, which is probably due to the general principle of sound production and the same material, but at the same time, in contrast with the soft sazsyrnai with hissing overtones, it has a shrill tone. Percussion instruments such as dangyra, kepshіk, dabyl, dauylpaz, shyndauyl were used to call aul (village) residents to hunt, to fulfil religious ceremonies, and to announce the upcoming migrations. The use of percussion instruments in military campaigns was mentioned in the famous epic poems “Koblandy”, “Er Targyn”, “Kambar Batyr”, “Alpamys Batyr” and others. Since ancient times, there was a custom to share them when the war between rival tribes was over.

KAZAKH ETHNIC MUSIC AND MODERNITY Kazakh musical culture of the XXI century presents a set of types of creative work, common to the musical life of the era. There exist both traditional forms of art, having regard to ethnic traditions, and new types of creative work, including the experience of European music. The first group includes folklore and folk-professional art of oral tradition (song and instrumental), which existed long before the onset of the current stage. Traditional oral art by its very nature differs from written culture and current professional musical art in methods and forms of the reflection of reality. Its improvisational character, the syncretism of composition and performance, the principle of participation in perception, as well as sound not music notation - all these key concepts have retained their value, despite the severe pressure of the new cultural environment. The second group of types of creative work has been developed since the 1920s. They have been defined as new, because they first mastered the experience of European music. These types of creative work include composing, performing, and mass art. Their signs evolved in the second half of the XIX century: European instruments were spread (accordion, violin, piano), European genres were used (march, waltz, romance). However, new forms of culture appeared “outside”. It was one of the most important developments in the history of Kazakh culture, comparable to the Kazakhs’ adoption of in its effect. It should be noted that the ethnic musical tradition and contemporary musical art exists not in isolation, but in close connection with each other. In particular, the undisputed postulate is that traditional art serves as the basis and prerequisite for contemporary music. Based on the organic synthesis of the national content ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4661 and European forms, back in the first half of the XX century A. Zhubanov, L. Khamidi, E. Brusilovskiy and M. Tulebayev created a number of classical works of Kazakh opera art. The dramatic and musical basis of operas “Abay”, “Kyz Zhibek”, “Birzhan and Sara” was formed by the inexhaustible riches of Kazakh folklore and oral professional music. Later in Kazakhstan, there flourished one of the most difficult genres of European instrumental music - symphonic, in the context of which there appeared a number of compositions, which are similar to classic works in shape – symphonies by G. Zhubanova, K. Kuzhamyarova, and a new synthesis of genres – a symphonic kui. As pointed out by A. Zh. Dosayeva (1987), “kui was first convincingly embodied in the form of , adaptations, then fragmentary – as a dramatic composition grain, and finally - in the original works, which have no quotations, but have an idea of kui, often associated with a rhythmic style of races. This style takes on a different emotional coloring: from glee, joy and carefree gaiety to sadness, pain, anger”. In addition, the orchestral and choral interpretation of Kazakh monodic music was widely developed. The most popular were folklore-ethnographic orchestras and musicians who played ancient Kazakh musical instruments, restored by the famous scientist-folklorist B. Sarybayev. At the same time, modernity makes the musical tradition adapt to new historical and cultural conditions. For example, in the works of anshi and kuishi there appeared a need to record their work in music or sound notation, which is uncharacteristic for this type of creativity. This means that music was realized as single, given for once and for all, and was not subject to changes in the improvisational performance. By virtue of the academic performance,performing art of folk music, having no individual function in its traditional form, became independent. Thus, there was a blurring of boundaries between types of creative work. The peculiarity of the ethnic musical tradition is also the fact that at present it has been actively reconstructed, which is crucial for the consolidation of all Kazakh people, especially those layers of society, which for a long time had been cut off from the traditional way of life and spiritual foundations of the Kazakh ethnic group. Today, folklore is being specially revived in its original form, but in a different operational environment. The rituals tusausker (hobble circumcision),toi bastar (marriage beginning), aitys genres (song and poetry contest), tartys (competition of dombra players) etc. constitute a part of social events, being broadcast on radio and television. At the same time, the song and instrumental creative work of oral tradition also plays another role in contemporary culture. There is a narrowing of its value. The aul life is being transformed and acquires the features of urban culture. Now the performance of songs and kuis during the traditional Kazakh communication (guest reception, grand feast, aitys) is preserved only in household arrangements, 4662 MAN IN INDIA and not as before - in the public sphere. However, annually Kazakhstan gathers creatively gifted young people at the festivals “Days of New Music”, “Zhiger”, “Altyn Alma”, the international contest “Voice of Asia”, and folk musicians – at the international festival of traditional music “Shabyt”, the contest named after Kurmangazy aimed at bringing together different eras and generations and linking the past, present and future. The original flowering of all forms and areas of traditional musical art is primarily associated with the deliberate and purposeful policy in the field of culture and education. The “Elim-ai” (“My Country”) program, created by a team under the leadership of Professor M. Kh. Baltabayev, was based on the traditions of folk pedagogy. Recently, in the Republic of Kazakhstan there have been developed a sufficient number of programs for teaching the art of music to children. Notable among them is the program by A. Raiymbergenov “Murager” (“Heirs”), which solves the problem of teaching children to play the Kazakh national instrument - dombra by oral (without notes) method. Pupils learn the skills of performing kuis on the lute, and the skills of combining playing the lute and singing. For the revival of ethnic traditions, the Kurmangazy Kazakh National Conservatory has introduced the disciplines “Ethno-solfeggio”, “Ethno-harmony”, “Fundamentals of Dombra Improvisation”, “Aitys Arts”, “Transposition of Dombra Kui” and others. Thus, one of the priority areas in the cultural development of the Republic of Kazakhstan in the XXI century is the revival of the lost ethnic traditions. In the context of globalization and, as a result, the blurring of the boundaries of all kinds, especially cultural, of particular importance is the revival and support of the weakened or lost folk traditions. Therefore, for the existence and development of musical Kazakh ethnic traditions, it is necessary to realize, elaborate and maintain them. These traditions are not only the key to understanding the cultural formation of the musical heritage of ancestors in general, but also the factor in the formation of the musical culture of each individual. Their development and multiplication contributes to the awareness of ethnic and cultural identity among the members of society.

CONCLUSIONS At the beginning of the XXI century, Kazakh traditional musical art is an ancient and archaic, simultaneous and modern, developing phenomenon. The musical tradition, song and instrumental, showed a surprising resilience and the ability to change. The musical tradition of the Kazakh people, in spite of all the troubles of the XX century, continues to live and grow, largely due to the efforts of the state, as well as an immense accumulated layer of ethnic culture. ETHNOMUSICAL TRADITIONS OF THE KAZAKH PEOPLE:... 4663

The analysis of Kazakh musical traditions revealed that the nomadic people had a huge variety of musical instruments - wind, stringed, plucked etc. The result was a high level of instrumental performance. At the same time, musical instruments for the Kazakh people are the link between reality and the Cosmos. The timbres of ancient Kazakh instruments have low, deep tones, special acoustic and additional overtones, as well as a velvet rich sound. Therefore, a number of instruments were used by shamans in religious ceremonies, for the treatment of animals and people, in military campaigns, etc. In the traditional art of the Kazakh people, instrumental music with its specific national kui genre and zhyrau art embodied the whole fullness of the philosophical understanding of the world - the place of man in the world, the relationship with higher powers, the problem of good and evil.

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