Anais da Academia Brasileira de Ciencias (2017) 89 (3): 1974-1988 (Annals of the Brazilian Academy of Sciences) Printed version ISSN 0001-3765 / Online version ISSN 1678-2690 http://scielo.br.com/en/scielo.php/script=sci_serial&pid=0001-65&nrm=iso www.scielo.br/aabc Piano music by Kazakh composers at the turn of the century MAIRA SAPIEVA1, SALTANAT JAKAEVA2, KUNSULU ZHAKAEVA3, SULUSHASH AJSINA4 and LILIYA SAYATULEKOVA5 1Сandidate of pedagogical sciences, Manager of the department, Department of Arts, Kostanay State Pedagogical Institute, Kazakhstan 2Associate professor, Сandidate of pedagogical sciences, Management chief of the social and education work of КSPI, Kostanay State Pedagogical Institute, Kazakhstan 3Senior teacher, Department of Arts, Kostanay State Pedagogical Institute, Kazakhstan 4Senior Teacher, Department of Arts, Kostanay State Pedagogical Institute, Kazakhstan 5Senior teacher, Department of Arts, Kostanay state pedagogical institute, Kazakhstan ABSTRACT The compositional development of the composers of Kazakhstan is actively developing. At the same time, it should be emphasized that the initial stage of the formation of an independent state (early 1990's) for objective reasons negatively affected the creative activity of the Union of Composers of Kazakhstan. Teachers of the Almaty State Conservatory named after Kurmangazy (Kazakh National Conservatory) played a huge role in preserving and increasing the piano repertoire of the Republic in this difficult period for the country. At present, the Union of Composers of Kazakhstan, along with the Kazakh National Conservatory named after Kurmangazy, continued publishing and promoting modern Russian piano literature, together with the teachers of the Kazakh National University of Arts, as well as the Kazakh National Academy of Arts named after T. Zhurgenov. Keywords: Piano music of Kazakhstan composers, Union of Composers of Kazakhstan, traditional musical culture of Kazakhstan, composers of Kazakhstan, piano music genres, stylistic features of piano music of Kazakhstan INTRODUCTION MATERIALS AND METHODS The piano music of the composers of Kazakhstan The genre of the piano concert was addressed by at the turn of the century is distinguished by genre N. Mendygaliev, G. Zhubanov, B. Bayakhunov, diversity and a deep national basis. In the piano A. Serkebaev, T. Kazhgaliev, G. Uzenbaeva, A. music of contemporaries, the genre of miniature is Sagat. For the genre of piano concerto, it is especially widely represented, which is a "musical characteristic, mainly, the desire for one-part, the laboratory" for composer's author's style, a use of distinctive features of dombra kuy tokpe, as stimulus for the development of creative a result of which the genre of the concert is a aspirations. vivid example of the interaction and An Acad Bras Cienc (2017) 89 (3) PIANO MUSIC AT THE TURN OF THE CENTURY 1975 interpenetration of kuyvo and symphonism. G. melody - monody, micro-intonation (1/4 - 1/8 Zhubanova, B. Bayakhunov, K. Duisecayev, A. tone); Meirbekov, G. Sekeev, A. Abdinurov, O. Yultyev rhythm - rhythmic features are expressed in addressed the genre of the piano sonata. The the pursuit of variable and odd dimensions (5/8, principal difference of the genre of the sonata is 11/8), non-square structure of phrases, the embodiment of the main tendencies of modern sophisticated rhythm; musical culture: the desire for a philosophical lad - the predominance of modality, music is comprehension of reality, the deepening of the written in natural frets; universal in the content of works. At the turn of tonality - features are associated with the the century, in the works of J. Dastenov, K. predominance of minor keys (historical events); Duysekeev, V. Strogitsky-Pak., H. Setekova, B. harmony - harmonic features are associated Amanzhol, G. Abdrasheva, A. Abdinurova, B. with the frequent use in the national musical Khasangali, O. Yultieva, etc., forms - variations, material of the IV stage as a dominant; rondo, fantasy, rhapsody. A. Romanov, J. Dastenov, L. Melnikova, A. Abdinurov, A. texture – texture features originate from Orenburgsky and others addressed the creation of instrumental cues, resulting in a close polyphonic works. The cycles of piano pieces for arrangement of chords, melody performance on children were created by G. Zhubanova, A. martellato, striving for interval melody, etc.; Isakova, B. Kydyrbek, S. Abdinurov, D. dynamics - dynamic features are associated Ostankovich and others. with the specificity of the sound of instrumental cues, where a high register of good kui (buyn) RESULTS AND DISCUSSION implies the culmination of the musical material; coloristics – coloristic features are expressed The piano work of the composers of Kazakhstan, in the desire to reproduce on the piano a monodic like any genre of national academic instrumental type of sounding of musical material. music, has a deep national basis. The basis of the The timbre-sound properties of Kazakh national style of the national composer school, instruments and folk singing style form a "layer of according to U.R. Dzhumakova (Dzhumakova, national sound". 2003), is the following features of the Kazakh In Kazakh dombra instrumental music, two traditional musical culture: styles are especially pronounced: oriental musical 1. Melodiko-thematic material of national culture - sartpe (finger, plucked technique of the heritage. game), western musical culture - tukpe (wrist, 2. Timbre-sound properties of Kazakh squeaking technique of the game). Dombrovye instruments and folk singing style, forming a kuyi tukpe differ in their motility, monorhythm, "layer of national sound". rapidity of tempo, dynamic aspiration. Kuyyam 3. Features of poetic speech, in traditional chertpe is characterized by elegance, elegance. Kazakh culture inseparable from music. For dombra cues are characteristic: a quarto-quint 4. Features of music associated with the interval, a non-cursive, a second consonance, reflection of the national worldview, worldview register extensions. and attitude. The main constructive feature of the texture of The melodic-thematic material of the national the natural-sound system, which underlies the heritage is expressed in the following throat singing of the Turkic peoples, is a two- characteristic features: voice vertical, in which the overtone melody is the basis of the musical language - superimposed on the basic sound of the improvisation (solo performance); fundamental tone, which is the foundation and compositional dramaturgy - non-linearity of source of the instrumental melody. spiral-circular development, non-quadratic Features of poetic speech. constructions, variant as an analog of improvisation; An Acad Bras Cienc (2017) 89 (3) 1976 MAIRA SAPIEVA et al. The musical culture of the Kazakh people is the structure of the world, which according to the distinguished by the uniqueness of instrumental oldest cosmogonic views of the Turkic-Mongolian genres, mainly kuy, which absorbed the rhythm, people is vertical (Begalinova, 1999). Noticeably intonation and syntax of poetic and prosaic is the predominance of the pentatonic basis, the speech: the 7-8th composer-zhyra, which is the modal variability, rhythmic diversity. oldest form of epic and song poetry; 11-th Epic slowness, the balance of an individual complexity, which prevails in the songs of the moment and eternity is typical for the sense of lyrical genre (Amanov and Mukhambetova, time in the traditional musical culture of the 2002). Kazakhs. Due to the unique, steppe thinking, the National features of songs are associated with works of the composers of Kazakhstan are marked lyrical poetics, the expressive meaning of the by a special depth in the area of a single image- word, the generalized figurative sphere, and the emotional state, contemplative interpretation of circle of intonations and the rhythm of words. temporary changes and shocks. They are in Features of the verbal language of the Kazakh complete opposition to the European tradition of people are associated with smooth and calm figurative confrontation and struggle. current, long improvisations in verse. Ordinary The piano music of the composers of speech has a certain rhythm in the construction of Kazakhstan was born in the 1920s. Based on the phrases and periods. Thus, the structure and studies of U.R. Dzhumakova (Dzhumakova, length of the poetic lines influenced the structure 2003), A.Zh. Dosayeva (Dosayeva, 1987), the and scale of musical constructions (phrases, following main periods of development of the sentences and periods) that have a non-quadratic piano composer school of Kazakhstan can be form (for example, 9, 11, 15, etc. cycles) singled out: (Begalinova, 1999). 1) The founders of the composer school, the For the perception of the musical work of the founders of a new culture and a new idea – A. European author it is necessary to follow the logic Zhubanov, E. Brusilovsky, L. Hamidi, M. of compositional development, when perceiving Tulebaev, B. Baykadamov. They made an the work of the composers of the eastern invaluable contribution to the development of the countries, it is important to have a deep meditative piano composer school in Kazakhstan. Their immersion in his emotional state. For example, search for synthesizing Kazakh national and the Kazakh people, this is due to the eastern European academic music was the basis for the mentality, nomadic culture, which was initially further development of all genres of piano music. formed in the Center of Asia. As history