KAZAKH MUSIC

Kazakhs love music and sing and dance well. There are two famous Kazakh proverbs: “Songs and horses are the two wings of the Kazakh people” and “The sounds of songs accompany you from the cradle to the grave.” “Dombra” is their favorite instrument (see below). Every summer, the Aken festival of playing and singing is held on an open steppe pasture. It features poetry and art as well as music and dance. 

Some folk musical instruments of the Kazakhs are divided into string, skin and breathing instruments. 

Kazakh music and dance have many unique features, but also have many similarities with the music and dance of Mongolia and Central Asia. For Kazakhs, summer has traditionally been the best time for fun. They often sing and dance on summer nights in the pastures. Their music and dances are popular not only with the Kazakhs, but also with the Chinese and other ethnic groups.

Kazakh music is inextricably linked to its storytelling traditions and improvisational poetry (see Literature). Songs and poems were traditionally sung in verse to the accompaniment of dombra. The 19th century musician Kurmangazy is the most famous composer of Kazakhstan. Western classical music took root in the 20th century. The first musical performance took place in 1934, and in 1935 the Kazakh State Philharmonic was opened. In 1937, the State Academic Opera and Ballet Theater named after Abai was founded. Other Kazakhs who have made a name for themselves in Western music include conductor Alan Buribayev and violinist Aiman ​​Musadjojaeva.

According to the government of Kazakhstan: “At the present stage of development in Kazakhstan, a branched structure of musical culture has formed. Here everyone can find something they like. Along with performing and composing creativity in European styles, traditional forms of music-making, as well as mass rock and pop music, and jazz continue to develop in the country. Religious and folk music includes folklore and oral traditions of the peoples living in Kazakhstan - Uighurs, Koreans, Germans, Dungans, Russians, Tatars. Among the well-known groups are the State Symphony Orchestra and Kazakh Folk Instruments. Kurmangazy, choir, folk dance ensemble, State Quartet, pop ensembles, brass and jazz bands. Kazakhstan is also the birthplace of many outstanding performers of classical music of the world: E. Serkebaev, B. Tulegenova, G. Yesimova, A. Dnishev, G. Kadyrbekov, Zh. Aubakirov, A Musakhodzhaev and the cradle of stars of the Kazakh musical diaspora abroad - M. Bisengalieva, E . Kurmangalieva, Nakipbekov sisters.

“Music schools and institutions include K. Baiseitov and A. Zhubanov, Almaty State Conservatory, Kurmangazy, National Academy of Music in Astana, State Opera and Ballet Theater. Kazakh State Philharmonic named after Abay, Dzhambula Kazakhconcert, Institute of Literature and Art named after. M. Auezov and other musical, educational, scientific and cultural institutions. Every year, Kazakhstanis gather talented youth at the festivals “Days of New Music”, “Zhiger”, “Altyn Alma”, the International Competition “Voice of Asia”, and folk musicians at the International Festival of Traditional Music.

Kazakh musical instruments

Kazakh folk musical instruments are classified by some into string, skin and breathing instruments. These include the "kobyz" (a rudimentary two-string violin, which some say was the world's first arbor instrument), the "zhetigen" (a 7-string instrument with a rectangular resonator box), the "sybyzgy" (and instruments such as the pan-pipe made from two reed or wooden flutes tied together), “dabyl, dauylpaz” (hand drums) and an instrument similar to a harp.

A.A. Zhubanova from Al-Farabi Kazakh National University wrote: “The richest in terms of sound palette is the kobyz, a two-stringed instrument made by knocking down a solid tree. The top deck of the kobyz was covered with camel skin, and a bunch of horsehair was stretched as strings. It was played by the right hand using a bow, similar to a bow string. Since the left hand does not press the string to the soundboard, but only touches it, the instrument produces an original sound similar to the human voice. The spread of kobyz was limited by the complexity of its manufacture and some difficulties in playing it, but its special sound was often used by folk sorcerers “baksy” when conducting spiritualistic séances. 

“The Kazakhs also created woodwind instruments. For example, sybyzgy, which has 6 holes on one side and one - octave - on the opposite side. When blowing air, the performer makes a light sound with his voice, so a quiet hum is heard; horseshoe-shaped shankobyz, which has a metal horseshoe in the middle, rings when it touches the fingers. The pitch of its sound is regulated by the movement of the lips - articulation. /

Dombra

“Dombra” (dutar or dongbula) is a favorite Kazakh instrument. It is a two-stringed lute with strikes, used in Uzbek and Kazakh music. Said to have made Genghis Khan cry, it comes with an oval, rectangular or guitar sound box. Dombra comes in different forms. Most of them are carved from a single piece of pine or birch, carefully carved and beautifully inlaid. Dombra sound boxes come in two types: one is triangular in shape and is called “Abayi Dombra” after the modern poet Abayi; the other is elliptical in shape and is called "Jiangbuer dunbula" after Jiangbuer, Aken among the Kazakh people. The two types of dombra have different appearances, and the sound quality of each has its own strengths. Most dombras have two strings, and some have three strings. In the old days, strings were made from sheep intestines. Today, most are made from sheepskin wire wrapped in nylon, with copper materials added. ~

The sound of the dombra is not loud, but the timbre is graceful. Most people play it with their left hand to press the strings and their right hand to pluck them. It can be used for playing and singing alone or with others, as well as for a solo instrument or instrumental ensemble. Moreover, it is lightweight and easy to carry; suitable for nomadic life in the steppe. ~

A.A. Zhubanova from the Al-Farabi Kazakh National University wrote: “Freer and broader than other Kazakh steppe instruments, the silver voice of the dombra is an unpretentious companion of nomads... Its strings store the musical wisdom of centuries, for it the nameless steppe composers who did not know notes created immortal musical works, embodying in them is the living life of their people. 

Kazakh dombra kui is recognized by UNESCO

In 2014, the Kazakh traditional art of dombra kuy was included in the UNESCO Intangible Heritage List. According to UNESCO: The art of dombrakui refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as dombra. Music aims to connect people to their historical roots and traditions through classical and improvised works that engage audiences on a spiritual and emotional level. Public participation in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. 

“Music is usually accompanied by stories and legends being told. It is traditionally performed at social events, holidays and celebrations, amidst a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people's identities and promoting solidarity and understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child shows an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice with other, more experienced and talented performers from their region to improve their skills and repertoire. ~

According to UNESCO, the Kazakh traditional art of dombra kuy has been included in the UNESCO Intangible Heritage List because: 1) Traditionally passed down from master to student from generation to generation, the performance of dombra kuy is an important entertainment during family and social gatherings and plays an important role in strengthening social the unity of Kazakhstanis while providing them with a sense of identity and belonging; 2) Inclusion of an element on the Representative List could help to increase its visibility at the national and international levels, while encouraging integration and intercultural dialogue, promoting solidarity and respect for cultural diversity and highlighting creativity. ~

Kazakh Akens

The Kazakhs and Kyrgyz have a long tradition of informal reading of folklore and improvised narrative singing performed by bards. Kyrgyz bards traditionally played to the accompaniment of a three-stringed apricot wood instrument called a komuz. The Kazakhs have a similar tradition, only they use a two-stringed instrument.

"Professional" singers are called aken. "Aken" were traditionally similar to minstrels: folk artists who recited poetry, epics and myths, played instruments and sang. They are considered the guardians, distributors and creators of folk art. A Kazakh proverb says: “Aken cannot live to be a thousand years old, but his songs can spread over a thousand years.” Aken is expected to have a wealth of knowledge, a wealth of enthusiasm, a vivid imagination and the ability to sing in an extemporaneous and extemporaneous style that addresses contemporary issues and the character of the audience watching him. Their songs are bright and lively. Some Akenes write long narrative poems, short folk songs, and narrative songs. The best akens forge their own style, singing improvised songs in a loud and clear singing voice, with incomparable wisdom, accompanied by dombra. Listeners think they hear the flow of the river and the gallop of horses and experience steppe life. The rhythm of many songs is designed to follow the movements of their horses. 

The term "aken" (akyn) refers to a performer who improvises poetry - quite similar to the "minstrel" in old Europe. The Akenes began as oral bearers of the history, myths and philosophy of the preliterate nomads of Central Asia.

Among the Akene, some people are particularly adept at engaging in improvised antiphonal singing (alternating singing by two choirs or singers). As a rule, theses akena are specialists who do not engage in other singing activities and do not sing long folk songs. Akena antiphonal singing is of two types: 1) spontaneous and 2) organized. Spontaneous form is measured in part by the Akens' ability to befriend their songs. To improve their skills, Akens often undertake long and arduous journeys to approach prestigious Akens to learn techniques. In an organized form, Akena antiphonal chants are performed at funeral ceremonies, weddings and holidays. At such times, the Akens represent their clan or tribe. Their successes or failures affect not only their own reputation, but are closely tied to the honor of their clan and tribe.