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0ART STUDIES
Omarova G.
Doctor of Art Criticism, Professor of Traditional Music Art's Chair of T.Zhurgenov Kazakh National Art Academy
(Almaty, Kazakhstan)
GENERAL TURKIC AND NATIONAL ELEMENTS IN MUSICAL CULTURE OF CENTRIAL ASIAN TURKIC-SPEAKING PEOPLES
ЭЛЕМЕНТЫ ОБЩЕТЮРКСКОГО И НАЦИОНАЛЬНОГО В МУЗЫКАЛЬНЫХ КУЛЬТУРАХ ТЮРКОЯЗЫЧНЫХ НАРОДОВ ЦЕНТРАЛЬНОЙ АЗИИ
Омарова Г.Н., Доктор искусствоведения, профессор кафедры традиционного музы-кального искусства Казахской Национальной Академии им. Т.Жургенова (Алматы, Казахстан)
АННОТАЦИЯ
В статье на основе типологии культур исследуются истоки общности и различий в музыкальных культурах тюрко-язычных народов Центральной Азии. Тюрки-кочевники, ушедшие в средневековье на запад Центральной Азии, органично восприняв ислам, вошли в состав мусульманского суперэтноса. Часть восточных тюрков и монгол, с учетом китайского фактора, в XVIII веке вошли в буддийский суперэтнос. Однако шаманская и, шире, тенгрианская «корневая система» ряда тюркских и монгольских народов, связанная именно с кочевым образом жизни, осталась доминирующей в их культуре.
Автор делает следующий вывод: если в традиционных культурах во-сточных тюрков хорошо сохранились следы «эпохи богов» (по Дж. Вико), то в культурах западных тюрков - «эпоха героев» (эпос); период лирики («эпоха людей») в каждой культуре является уже национально-своеобразной. Весь цивилизационный (или субцивилизационный) цикл кочевой культуры можно наблюдать в музыкальной культуре казахов. ABSTRACT
Based on the typology of cultures the article studies similarities and differences in musical cultures of the Central Asian Turkic peoples. Turkic nomads, who moved to the west of Central Asia in the middle ages, seamlessly accepted Islam andjoined the Muslim superethnos. Part of the Eastern Turks and Mongols, in view of Chinese factor, joined Buddhist superethnos in XVIII century. However, the shamanic, and in a proper sense, the Tengrian "root system" of the Turkic and Mongolian peoples, associated with the nomadic way of life, remained dominant in their culture.
The author comes to the following conclusion: the eastern Turkic peoples preserved the traces of "the era of gods" (J.Vico) in their traditional cultures and the western Turkic peoples preserved the traces of «the era of heroes» (epos); the period of lyrics («the era ofpeople») in every culture is nationally original. The entire civilizational (or subcivilizational) cycle of nomadic culture is peculiar to Kazakh musical culture.
Ключевые слова: тюрко-монгольская и тюрко-иранская этнокультурные общности, кочевая цивилизация, тенгриан-ский суперэтнос, эпоха богов, эпоха героев, эпоха людей, мифология, героический эпос, лирика.
Keywords: Turcik-mongolian and Turcik-Iranian ethno-cultural communities, nomadic civilization, tengrian superethnos, age of gods, age of heroes, age of the people, mythology, heroic epic, lyrics.
The Great Silk road is a «transcontinental», «transEurasian» highway, connecting Asia and Europe. At its center, between the Western coast of the Mediterranean and Black seas, and the Far East there is Central Asian territory, that has become the «bridge» between the West and the East. It is here, two largest ethno-historical and ethno-cultural communities were formed -Turcik-mongolian and Turcik-Iranian.
The caravan routes in the East paved the ways for the interpenetration of ideas, religions, arts. Their bearers were the people: several thousand strong armies, certain prominent figures, missionaries, adherents, and cultural figures, etc. This movement of the masses also played a certain role in history, ethno and socio-cultural processes, the formation of nations and states.
The origin of Turkic statehood was laid in the early middle ages, in the epoch of formation of the Turkic Kaganate. This period is common to all cultures of the Turkic nations. Kazakh
scientist A. Orazbayeva believes that if the Scytho-Saka period was the phase of formation of archaic layer of culture, Turkic period is the phase of ethnic identity, the spiritual archetypes (language, literature, ideology, and statehood) of the Turkic nations [1, 199].
Three main levels (or signs) of commonness of cultures: 1) historical-genetic, 2) typological, 3) contact [2]. The Kazakhs have common features: with North Caucasian Turks - on the first sign; with the Uzbeks, Azeris - on the first and third; with the Tatars, Bashkir, Khakas, Tuvinians, and Yakuts - the first (partly the second and third); the Altaians, Kyrgyz, Karakalpaks and Turkmens - on the first, second, third signs [3].
The typology of the Turkic-Mongolian cultures is based on their belonging primarily to Eastern civilizations and sub-civilizations, within the frames of which the nations formed their distinctive national culture: Arabic or Iranian-Islamic influence on the culture of the Turks, the Azerbaijani, the Uzbeks, the
Turkmen, Turks of the North Caucasus and the Volga region; Chinese or Mongol-Buddhist influence of some Siberian nations on the culture.
Steppe regions of Central Asia formed nomadic civilization, the bearers of which, by analogy with Christian, Muslim, Buddhist nations, was a tengrian superethnos [4]. This super-ethnos consisted of those Turcik and Mongolian nations, who in II - beginning of I Millennium BC passed to nomadic pastoralism. Accordingly, a completely different civilization and a different civilizational complex was formed here.
The Turks, who left in the middle ages to the West Central Asia, organically taking Islam, joined the Muslim superethnos; a part of the Eastern Turks and the Mongols, taking into account the Chinese factor, entered a Buddhist superethnos in the XVIII century. However, shamanic and tengrian «root system» of the Mongolian nations, associated with a nomadic way of life remained dominant in their culture. Tengrian superethnos, thus, consists of Central Asian nomads, the main part of which are Kazakhs, Kyrgyz, Altaian nations, Khakas, and other South Siberian Turks (including Bashkirs and Tatars). Despite the fact that in the middle Ages Islam (Sufi Islam) had found their way to the South and West of Kazakhstan through Arab missionaries, most Kazakhs were of tengrian faith until the 20th century.
Successors of the Turkic nomadic civilization are all contemporary Turkic and Mongolian nations. In terms of types of folklore and oral musical professionalism of Turks common and special cultural stages can be demonstrated, based on the idea of Cycling civilizations by J.Vico: a) age of gods (ancient period), b) age of heroes (middle ages), c) age of the people (new time) [5]. In the folklore, literature and music it corresponds to mythology, the heroic epic and lyric poetry.
If traditional cultures of Eastern Turks preserved the ancient period - mythology, the cultures of the Western Turks- medieval heroic epic (common set of epic monuments of Oguz and Kipchak time peculiar to Western Kazakhs, Turkmens, Karakalpaks, Uzbeks, Turks, Azerbaijani, Nogai, Bashkir, Tatar). The epoch of lyrics in every national culture is already nationally original. Turkic sedentary agricultural culture: peasant folklore folk-professional art
urban folklore professional art (maqamat)
We have an important triad «peasant folklore - folk-professional art - professional art», which reflects the cyclical nature of civilizations and corresponds to three historical stages of formation of different areas of musical culture of the nations.
Sufi Islam has had a huge impact on the development of art and music of the Western Turkic nations. Their classical musical traditions (Uzbek-Tajik shashmakom, Azerbaijani mugam, Uyghur Muqam, etc.) are in line with other typologically related musical traditions and genres of the Eastern countries (Iranian dastgah, North Indian raga, etc.). In the professional musical traditions of Turkmens, Karakalpaks and Kazakhs by virtue of their ethnogenesis and history, there is another traditional genre complex.
In our opinion, the whole civilizational (or sub-civilizational) cycle of no-madic culture is reflected in Kazakh musical culture:
a) ancient period - folklore and mythology (much in common with corresponding layers of the other Turkic cultures);
b) the middle ages - heroic epic, from Turkic runic epic, ancient versions of «Kambar-Batyr» and «Alpamys-Batyr», Oguz «Kitabi dedem Korkut», «Kor-agly» (common for the Kazakhs, Turkmen, Azerbaijan, Turkish people) to the Kipchak Nogay cycly (common for Kazakhs, Bashkirs, Tatars, Nogais, etc);
c) new time - epics and lyrics, presented in individual author's works of XVIII-XIX century, numerous regional traditions and schools of zhyrau, akyns, sal, sen (types of professional bearers of epic and poetic song art) and kyuishi (types of professional bearers of instrumental art).
Peculiar to Kazakh culture unity of the sphere of functioning of folklore and oral professional traditions and social undifferential state of bearers of these traditions is explained by the lack of «town-village» opposition in nomadic society and sharp social stratification of the nomadic society. That is, in purpose and existence, both folklore and musical professionalism in the Kazakh traditional society are «universal» and «nationwide» [6].
So, common Turkic heritage is characterized by: а) mythological layers of ancient period cultures (better represented among the Eastern Turks, who preserved the tengrian basis in their culture); b) heroic-epic layers of middle age cultures (better represented by the Western Turks, who reflected heroic pages of their history in their epic cycles). National identity of Turkic nations' musical cultures was formed during periods of mature (late) middle ages and modern times.
References
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