CC BY
19
RTICLE
No. 4. 2023
UDC 78.036: 681.8
Valeriya Nedlina1
1 Kurmangazy National Conservatory (Almaty, Kazakhstan)
Neotraditionalism and Innovations in Kazakh Instruments and Music-Making
Abstract
In the XX and XXI centuries, Kazakh music went through three waves of innovations: first, after centuries of solo-only performance, ensembles and orchestras appeared in the first decades of the Soviet period. Then, ethnographic, iconographic, and archaeological research brought back to life lost or nearly-forgotten instruments in 1970-80s, and in the 2000s new types of ensembles and neo-folk instruments appeared under global influences. All these changes were driven by two opposite tendencies: intensive cross-cultural interaction (primarily on the West-East axis) met the growing interest to the nation's past. This neotraditional mindset influences, on the one hand, to music instrument-making, on the other hand, to performance practice.
In the first wave, the need for creating the orchestra of Kazakh folk instruments, declared by Akhmet Zhubanov, caused the foundation of the workshop where standardized dombra (plucked lute chordophone) and qobyz (bowed lute chordophone) were created together with their modernized cousins (prima, alto and bass versions). During the second wave, such prominent scholars as Bolat Sarybayev turned to the restoration of the lost instruments (sherter, zhetygen, saz syrnai, percussion and so on) that were later included in orchestras and ensembles and even institutionalized within the conservatoire's classes. The third wave is strongly associated with various kinds of popular music. Some ensembles (as Turan and Hassak) moved toward the World music style, others (as Aldaspan) experimented in electronic and rock directions.
So, it is obvious that all three waves are interconnected. Unification and experiments with materials in the early Soviet period, as well as the creation of special workshops and laboratories for folk music, have created a systematic cycle of research and reconstruction.
Keywords: neotraditionalism in music, Kazakh music, Kazakh music instruments, modernization of music instruments, reconstruction of music instruments, prima qobyz, sherter, electric dombra.
Acknoledgements. The work was completed within the framework of targeted funding of the program BR10164111 "The Cultural Heritage of the Great Steppe and the Cultural Code of the Kazakhs: Civilizational Context." Source of funding - Ministry of Culture and Sports of the Republic of Kazakhstan. I am grateful to Ykylas Museum of Music instruments in Almaty for filming permission and support during our ethnoorganological studies. Special thanks to my supervisee Aida Aidynkyzy for providing me valuable information on prima-kobyz and collaboration in research. My deepest gratitude to my
© 2023 The Author(s). Published by Kurmangazy Kazakh National Conservatory. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.
Author has read and approved the final version of the manuscript and declares that there is no conflict of interests.
colleagues Yannick Wey, Manami Suzuki and Emin Soyda§ who inspired me to discuss the results of this research at the 47th World Conference of the International Council for Traditional Music (now - International Council for Traditions of Music and Dance) in July 2023 in Ghana within the panel Material and Cultural Lives of Instruments in the Tensions between the Past and the Present, between the Sacred and the Profane.
Cite: Nedlina, V. E. Neotraditionalism and Innovations in Kazakh Instruments and Music-Making // Saryn. - 2023. - Vol. 11. - Vol. 4. - PP. 34-53. - DOI: 10.59850/SARYN.4.11.2023.33.
Received: 11.08.2023
Revised: 10.10.2023
Accepted: 06.11.2023
Introduction. We often think of neo-traditionalism as a part of post-modernist or even meta-modernist culture, when the turn to the past becomes the turn to the future. At the same time, history, and especially the history of music, is made of multi-aimed moves, summative vectors of which form a movement forward.
Some innovations are justified by restoring a "long-forgotten" tradition, while others by the necessity to modernize national culture. Some of them find a lodgment, and others fade in centuries, leaving just material for archaeological discoveries.
By now, the history of Kazakh instruments has not been written. If we consider those episodes we know, it looks like a story of innovations. Something looking like a lute chordophone has been depicted on the petroglyphs near Almaty and has been brought to the Ykylas Music Museum (see Fig. 1). Then excavations at Scythian and Turkic burials revealed bizarre forms of harps and lutes with elements similar to some modern instruments while, at the same time, looking unlike anything modern. For example, many scholars discussed the construction and possible ways of playing the Scythian harp found on the Pazyryk archaeological site (see [Lawergren; Bassilov]). It is very different from all
modern instruments and, at the same time, pretty close in building methods, materials and elements of construction to modern bowed chordophones of Eurasian nomads, like the Kazakh qyl-qobyz. The histories and geographies of some archaic instruments are waiting to be
Figure 1. Stone with petroglyphs at Ykylas Music Museum in Almaty (Photo by Valeriya Nedlina)
studied. Thus the construction, performance techniques and connections with modern instruments of the lute chordophone from Karakaba (Kazakh Altay) are well described by archaeologists [Samashev] but still weren't discussed by ethnoorganologists. So, it looks like nearly every important historical milestone is marked by innovations in musical instruments.
If we think of transformations of Kazakh instruments in the last hundred years, we'll find that innovations consciously made and precisely aimed, followed ideological shifts and general social transformations. It allows us to suppose that all previous transformations were of the same nature - instruments appeared and changed together with the shifts in mindsets and societal organization. My paper includes results of three research projects on some important trends and phenomena that accompanied tectonic shifts in Kazakh society. These trends appear together with re-establishing the concept of Kazakh nation and identities associated with it. The shifts in the construct of "nation" are always dealing with the past for "modernization" of old traditions to adapt them to the new historical environment.
Neotraditionalism: a definition. The term "neotraditionalism" is closely associated with politics. Thus, Britannica gives the following definition: "Neotraditionalism, in politics, the deliberate revival and revamping of old cultures, practices, and institutions for use in new political contexts and strategies." [Galvan] The most significant changes in political context for Kazakhstan, as for many other Asian countries, in 20th century were the gradual formation of the national state. It was gradual due to the historic situation: first, the Kazakh Soviet Socialist Republic was formed in 1920-1930s within the USSR out of territory of three Kazakh hordes (juz) dependent on the Russian Empire, then in 1991, together with other republics, Kazakhstan received independence.
In his famous book, Benedict Anderson notes: "If nation-states are widely conceded to be 'new' and 'historical,' the nations to which they give political expression always loom out of an immemorial past,' and, still more important, glide into a limitless future. It is the magic of nationalism to turn chance into destiny." [Anderson, pp. 11-12] Thus, the dialectics of "new" and "archaic" become the driving force of changes in identities and cultural phenomena, connected with them. In West-and-East cultural interaction, westernization was one of the cores, but not only, trends for a while. Therefore, the "new" is not always "appropriated from the West".
In his research on Nigerian pop-music, Austin Emielu offers a theory of progressive traditionalism: "While Westernization came essentially through political domination (colonialism), African cultures have been resilient enough to hold on to core values of their traditions and culture, allowing only those aspects of foreign culture and traditions that enhance indigenous practices. Such resistance to total domination created a platform for the modernization of African cultural practices where the core features are African and the periphery is foreign". [Emielu, p. 222]. It is very close to what I mean under neotraditionalism: modernization that is aimed at contemporary presentation of traditions.
Three waves of reconstructions. Let's take a closer look at the three ways of reconstructing Kazakh music instruments: first, in the times of Soviet cultural building (1920-1940s); second, coinciding with the growth of national consciousness in the 1970s; and the last one marked the post-global self-presentation of Kazakh artists on the world music stages.
The first wave is associated with Akhmet Zhubanov, a humanist scholar, prominent composer and active leader, whose enthusiasm allowed Kazakh music to move towards a global world of industrial and post-industrial age.
Soviet authorities have formulated the imperative of national culture: national in form, socialist in content. It provided for some differences and features but unification was at the front. Like Russian culture at the turn of 19th and 20th centuries, those nations who hadn't orchestral traditions were persistently encouraged to develop new forms of collective performance. This led to the urgent need of a standardized music industry including instruments and their manufacturing as well as increasing numbers of performers (and instruments) for philharmonic needs.
Ensemble performance required unified tuning, construction and acoustics. Thus, the Kazakh musical workshop in 1933, on the initiative of Akhmet Zhubanov was created nearly simultaneously with the orchestra of Kazakh folk instruments, still prosperously existing under the name "Kurmangazy orchestra". The purpose of the experiments was to enhance the sound and unify the structure and pitch (to create orchestras of folk instruments and to bring the dombra to European-style concert venues). The researcher A. D. Alekseyev writes that to replace the low-tuned dombra common among the people ("approximately G3 and C4"), prima, tenor and bass
dombras were built with a fixed tuning and chromatic-scale frets (see Fig. 2) [Alexeyev]. Akhmet Zhubanov and the staff of the musical experimental laboratory, trying various materials for the orchestral dombra, put metal strings on it, but the sound did not correspond to the gut strings familiar to the Kazakhs. The sound of nylon fishing line was closer
Figure 2. In the Kazakh musical workshop of Kaztekhsnab. Left to right: senior master G. Tukhvatulin, craftsmen K. Kassymov and K. Ibrayev manufacturing qobyz and dombra (source: Central State Archive for Film and Photo Documents https://kfdz.kz/)
to them than metal. Therefore, gut strings, due to the complexity of the manufacturing process and fragility, were replaced with thick fishing line (0.7 or 0.8 mm) [Utegaliyeva 2006, p. 96]. All this significantly changed not only the instrument itself, but also its repertoire. Convenience in daily performing practice began to prevail over the authenticity of sound and significantly changed the timbre flavor of modern Kazakh music.
More unified in form and timbre, new dombras have shaped the newly established Orchestra of Kazakh folk instruments and influenced other innovations like the prima dombra and prima qobyz, which were de jure modernized but de facto invented nearly from scratch. Altogether, they formed the new practice of orchestral performance. Thanks to YouTube, it is possible to listen to a short fragment from the rare mid-1940s video of Kurmangazy orchestra's performance of Akhmet Zhubanov's song Karlygash. The conductor is Akhmet Zhubanov himself (see Fig. 3).
The ancient bowed chordophone qobyz followed the dombra. In our recent research on qobyz performance together with my undergraduate student Aida Aidynkyzy, we have found that three modernizations (see Table 1) undertaken during 1930-1950s have influenced a significant shift in performance techniques as well as in the acoustics of instruments and even the prevailing gender of musicians. In fact, now two separate traditions exist: one continuing the playing of the archaic qobyz that received the prefix "qyl", and a newly established one for the prima qobyz.
Figure 3. Akhmet Zhubanov, Karlygash song. Kurmangazy orchestra of Kazakh instruments directed by the author. URL: https://youtu.be/dlCpCBy7SiA
Table 1. The three modernizations of qobyz
1st modernization
1934. Three gut strings, half-open or leather-covered deck Left: photo of Zharas baksy (shaman's) nar kobyz, 18th century. Ykylas music museum (filmed by Valeriya Nedlina) Right: photo of Raushan Nurpeissova's kobyz by Aknar Tattibaikyzy [Tattibaikyzy, p. 89]
2nd modernization
after 1950. Four metal strings, shortened neck Photo of Gulnafis Bayazitova's kobyz from Ykylas music museum (photos taken by D. Sembyanov)
3rd modernization
1954. "Pershin's prima kobyz". Flat violin-like wooden body Photo: Valeriy Abramkin, nephew of Alexander Pershin (Instagram: @valerii_abramkin)
Pershin brought the instrument closer to the Western violin. The most significant feature of it - the flageolet technique of playing - was preserved from archaic qyl-qobyz. The new four metal strings are much thinner and harder than the initial horsehair. They harm the student-musician's fingers and nails so hard that, according to a joke of prima-qobyz performers, only a girl can endure the pain.
Putting jokes aside, together with Aida, who plays in the Otyrar Sazy folk orchestra, we analyzed how the sound and construction of the modernized instrument influence the performance technique and vice versa. First of all, the timbral qualities of the sound of the prima-qobyz are not similar to those of the qyl-qobyz, the violin or the cello. To demonstrate it, we use spectrograms created with the software SPAX1 (see Fig. 4-6).
All three samples were specially recorded in the studio of Kurmangazy Kazakh National Conservatoire to provide the same conditions and appropriate noise reduction. The sound waves of the prima-qobyz are not as distorted as those of the qyl-qobyz but still preserve
more overtones than the stabilized sound of western bowed instruments, despite 1 A^dnnKh^ru?. Pr°9Hm SPAX f°r+ Win°Hws+ ■ i the sound itself is a fourth higher
Reg. N 2005612875 of Federal Institute of Industrial
Property of Russia, 2005. than that of a cello we see in Figure 6.
Figure 4. Kyl-kobyz Open D3 horsehair string, 20 kHz, -75Db
Figure 6. Cello Open D3
roundwound steel string, 20 kHz, -75Db
' stor
This is due to the strings freely vibrating in the air and due to the construction of the body. On the one hand, it is a disaster for an ensemble performance from a western perspective. Our assistant sound engineer Nikolay Nossenko mentioned that if violins had
such a timbre, the symphonic orchestra wouldn't sound well. On the other hand, it may be considered a special Kazakh feature, representing a modern version of the ethnic sound ideal.2
The second wave of modernizations. Second birth of the forgotten instruments.
In the 1970s and 1980s, a number of remarkable books were published that prepared a large-scale rethinking of the role of traditional culture, the historical past of the people, and the place of the Kazakhs in the "great fugue of nations." [Wit and Wisdom] Later, this canon of books received the name "Eurasian literature." This refers to the works of writers such as Mukhtar Auyezov, Olzhas Suleymenov, and Chinghiz Aytmatov. The idea of "returning to the roots," as well as thoughts about the influence of the Turkic peoples on world history and culture, was accepted by the creative intelligentsia.
The remarkable thing is that this paradigm shift in national consciousness was anticipated by significant transformations in folk ensembles caused by the discoveries of the prominent Kazakh scholar Bolat Sarybayev. Looking in all kinds of historical sources - from archaeology to field materials - he reintroduced many nearly forgotten instruments into the culture. The archaic forms of most of them couldn't match the realities of industrial life, where the loud and well-articulated sound, wide range and unified tuning became important criteria for orchestras and ensembles. Neither could they hope for institutionalization among the resurrected traditions. In response, Sarybayev turned to the same methods as during the first wave of innovations: reconstruction, unification, and inclusion in the orchestra. Nurgissa Tlendiyev was one of the many enthusiasts who implemented these new-old instruments in contemporary concert life and we can listen to the Otyrar Sazy Orchestra - an enlarged version of orchestra compared to Zhubanov's - performing Makhambet Kui by him under the direction of the author (see Fig. 7).
Kazakhs had musical instruments
Figure 7. Nurgissa Tlendiyev, , .. , . . .,.
Makhambet Kui. Performed of aN four primary classification groups by Otyrar Sazy Orchestra, of the Hornbostel-Sachs system.
conductor - author. , But not all of them were in equal use
URL: https://youtu.be/ M
ScrvamfVZKA throughout the centuries. By the 20th
century, living traditions were preserved only for the dombra (plucked lute), qobyz (bowed lute), and sybyzgy (open flute). The last two were fading due to a lack of heirs and external influence even before the Soviet era. It was a new paradigm of cultural heritage that brought many instruments back to life. But was this a real resurrection, a kind of cultural innovation, or even a substitution?
The other case study I performed several years ago [Nedlina] concerned the sherter, recreated by Bolat Sarybayev in the early 1970s. He first found a single picture
of the instrument in a book by Polish
2 The concept of the ethnic sound ideal was introduced exile Borislav Zaleski. The instrument
by F. Bose. It is impiemented in Kazakh) etaomuskotogy built according to this picture wasn't and broadly discussed by professor Saule Utegaliyeva
[Utegaliyeva 2017]. playable. After receiving some additional
field materials and turning on the imagination, Sarybayev and his fellow craftsmen have rebuilt the sherter. In fact, it turned out to be a completely new instrument with some ethnic charm but without repertoire. It used to accompany epic telling, but then dombra substituted it for everyday practice. Now performers mostly play transcriptions of dombra kuis along with western music (see Fig. 8-10).
Figure 8. Borislav Zaleski The etching "Yurt interior". Supposedly - fairytale performance by Myrzakai
Figure 9. Archaic sherter Reconstruction by Bolat Sarybaev and Orazgazy Baissembayev, 1969
Figure 10. Modernized sherter
By Bolat Sarybayev
and Abuzar Aukhadiyev, 1972
All pictures first published in Sarybayev's album [Sarybayev]
Still, thanks to the nylon or gut strings, composite wood-and-leather deck and dobra-kind plucking technique the sound of the sherter evokes "nomadic" imagery. There are some samples available on YouTube, for example, the fragment of Oi Tolgau, a popular ancient folk kui common for dombra and transcribed for sherter (see Fig. 11).
Like the sherter, the percussion instruments dauylpaz, dabyl, qonyrau, wind instruments kamys syrnay, saz syrnay, and the string instruments adyrna, zhetygen were recreated and reimplemented in culture. Not all of them are institutionalized completely. Sherter,
zhetygen and saz syrnai, together with sybyzgy, are now taught in special classes at Kurmangazy Conservatory and music high schools. In these cases, we may speak of a recreation of living traditions rather than of a restoration, though the mentioned instruments function as secondary compared to dombra and qobyz which are institutionalized in the education system and have continuous history without interruptions.
Figure 11. Transcription of Oi Tolgau dombra kui for sherter. Performed by Raniya Aidyn.
URL: https://youtu.be/64HHwqM7rao
The third wave of modernizations. The third wave of modernizations is strongly based on the achievements (and misfortunes too) of the first two periods in instruments'
reconstruction. If Soviet ideology was focused on the future and therefore modernization of instruments was considered an improvement, post-Soviet experiments, which were in fact technologically pretty much the same, were based on a different attitude. The new ideological focus on Kazakh nationalism made craftsmen and musicians think of it as a restoration of the lost heritage.
The core driving force of the third wave were young musicians who grew up in postSoviet realities. The example of their elder colleague, performer and composer Yedil Hussainov, who mastered several instruments and Tuvan throat singing (that, in terms of semiology, is considered by Kazakhs as "our" but a long-ago forgotten practice), inspired them to conduct numerous experiments with instruments. In the 1930s, the Kurmangazy Orchestra appeared because of the aspiration of musicians to have national institutions that looked like their western counterparts. Now the West offered a new model for adaptation: ethnic groups within the world music genre of popular music.
This line of experiments was opened by Turan ensemble in 2006 (see Fig. 12). They were the most fruitful in terms of instruments. I will describe their achievements just briefly because their experiments deserve a special paper. The ethnographic pathos of this ensemble was to present as many nomadic instruments as possible, no matter
archaic or renovated. All musicians, first of all, the core members Serik Nurmoldayev, Baurzhan Bekmukhamet and Maksat Medeubek, are multi-instrumentalists. Turan was the first group to perform
Figure 12. Turan ensemble (official poster) with the symphonic
orchestra: composer
Aktoty Raimkulova collaborated with them for two symphonic poems - Dala Syry (The Steppe Song, 2008) and Jamilia (Girl's name, 2009). They contributed to the implementation in concert practice of rare instruments like the Kazakh kernei, muiz (horn), shinkildek (children's dombra) as well as instrumental-puppet performance orteke. Describing the instruments of Turan, Megan Rancier wrote:
"Turan's expression of Kazakh traditional culture and spirituality are probably best represented by the musical instruments that they play. Although each instrument possesses a unique history and set of performance conventions, they are all widely believed to have been used by Kazakh musicians for several centuries. Each musical instrument brings along its own musical and social
ç^apyn_N04 2023
history, thereby adding its own layers of historical references and contemporary meanings. In addition, most of these instruments are in themselves potent symbols of Kazakh cultural history and national identity, so that their combined use presents a powerful articulation of where the Kazakhs came from and what Kazakh-ness means in the present day." [Rancier, p. 219].
The Hassak ensemble has followed this line since 2010. In their video clip (see Fig. 13), we can see and hear the barbat. This instrument never existed in Kazakhstan but is known among Kazakhs and other Turkic-speaking minorities in China as an accompaniment for singing. Kazakhstani craftsmen have constructed their own version—not very precise but, according to Hassak's leader Yerzhan Zhamenkeyev, very "Kazakh" and appropriate for the ensemble.
Absolutely different, but at the same Figure 13. Hassak. Amanat. 2015 time, similar in the sense of instrument Barbat - five-stringed ^ known building, experiments appeared
among Chinese Kazakhs . „ . . . .JL| . .
URL: https://youtu.be/Kz7Bt-zERQc in Kazakh rock music with implementing
the electric dombra. In 2011, the debut
album of the Aldaspan group was
released - the first rock band to use this musical instrument. The idea of creating
an electric dombra belongs to the producer and performer Nurzhan Toyshi. According
to him, the similarity of dombra motifs with heavy rock guitar riffs served as an impulse
[Abisheva, p. 36]. The Moscow-based Shamray Guitars workshop has created three
instruments: tenor, baritone, and bass (see Fig. 14).
These pure implementations of the idiom "folklore of the technological era" are interesting in comparison to the acoustic dombra. The spectrogram shows absolutely different timbres of the same 19th century kui Aday by Kurmangazy (see Fig. 15). However, typical guitar effects (like fuzz, overdrive, or distortion) may help to create a denser sound spectrum that sounds closer to the ethnic ideal of the steppe nomadic sound. Moreover, metal strings allow musicians to tune the dombra lower than nylon. Thus, the sound pitch more common for the archaic dombra with gut strings may be
achieved. "Rocky" sound suits the performance technique of ancient dombra tradition that may be heard in Aldaspan's debut clip (see Fig. 16).
Figure 15. Spectrograms (SPAX ©) of the first 10 seconds of Adai kui, performed on electric (a) and acoustic (b) dombras
Figure 16. Aldaspan. URL: https://youtu.be/Iv3Xb1SeRiU
Conclusion. It is obvious that all three waves are interconnected. Unification and experiments with materials in the early Soviet period, as well as the creation of special workshops and laboratories for folk music, have created a systematic cycle of research and reconstruction. The late-Soviet period added restoration to it, together with the growing attitude toward the nation's past. Evaluating the results of artistic research by such bands as Turan, Hassak, and Aldaspan, who are well-known and commercially successful in Kazakhstan and other Turkic-speaking regions, I would say that we observe a tradition of innovations in instrument building. The ideas come from past of the ethnic traditions as well as from related nations and ethnic groups.
¿)apyn_N0.4
Today, this work is considered both a restoration of lost or endangered heritage, reimplemented in the culture in its new status, and a modernization of national consciousness, nostalgic for ethnic archaics while at the same time aiming toward the future.
One can suppose that all earlier innovations in instrument-making could be also connected with the significant changes in society, intensification of cross-cultural exchange and shifts in identities. Thus, the Pazyryk harp appeared in the age of intensive migration between Scythian and Turkic populations of Eurasia, ancient Altai warriors-musicians left in the age of creation of Turkic trade empires, and so on. These mutual influences of societal changes and instrument-making are yet to be studied. And the very last thing: looking at the history of Kazakh instruments, one could suppose that literally any instrument-building tradition of any music culture could be considered a history of innovations.
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No. 4. 2023
cSaiyn
Валерия Недлина
К^рмангазы атындагы Казак, улттьщ консерваториясы (Алматы, Казахстан)
Казак, аспап жасау жэне орындаушылык, тэжiрибеdндеп неотрадиционализм жэне инновация
Ацдатпа
XX жэне XXI Fасырларда казак музыкасы жацашылдыктыц y111 толкынын бастан eткердi: мыцжылдыктар жеке орындаушылыктан кейiн Кецес eKÍMeTÍHÍ^ а^ашкы онжылдыктарында ансамбльдер мен оркестрлер пайда болды, содан кейiн 1970-80-ii жылдары этнографиялык, иконографиялык жэне археологиялык зерттеулер жоFалып кеткен немесе умытылып бара жаткан аспаптарды eмiрге кайтарды, ал 2000-ii жылдары жаhандык эсермен ансамбльдердщ жаца TYрлерi мен нео-фолк аспаптар пайда болды. Бул eзгерiстердщ барль^ы екi карама-карсы тенденцияныц эсерiнен болды: каркынды мэдениетаралык езара эрекеттесу (ец алдымен Батыс-ШыFыс осi бойынша) жэне улттыц eткенiне кызы^нылыктыщ артуы. Бул жаца дэстYрлi ойлау, бiр жаFынан, музыкалык аспаптардыц конструкциясына, екiншi жаFынан, орындау тэжiрибесiне эсер етедi.
Бiрiншi толкында Ахмет Жубанов мэлiмдеген казак халык аспаптары оркестрiн куру кажеттМ шеберхананыц курылуына экелдi. Ол жерде бiртутас домбыра (лютня Yшiн шертпелi хордофон) мен кобыз (лютня yh^ ыскышты хордофон) жэне оныц модернизацияланFан аналогтары (прима, альт жэне бас нускалары) жасалды.
Екiншi толкын кезшде Болат Сарыбаев сиякты кeрнектi Fалымдар жоFалFан аспаптарды (шертер, жетiген, саз сырнай, сокпалы аспаптар, т. б.) калпына келтiруге бет бурды, олар кейш оркестрлер мен ансамбльдерге косылып, тiптi консерватория сыныптарында институттандырылды. Yiimiii толкын танымал музыканыц эртYрлi TYрлерiмен тыFыз байланысты. Кейбiр ансамбльдер (Turan жэне Hassak сиякты) World music стилше кeштi, баскалары (Aldaspan сиякты) электроника жэне рок баFыттарында тэжiрибе жасады.
Сонымен, yi толкын да бiр-бiрiмен байланысты екенi анык. Ерте кецестк кезецдеп материалдармен бiрiздендiру жэне эксперимент журпзу, сондай-ак халык музыкасы бойынша арнайы шеберханалар мен зертханаларды куру зерттеулер мен реконструкциялардыц ЖYЙелi циклш курды.
TipeK свздер: музыкадаFы неотрадиционализм, казак музыкасы, казак музыкалык аспаптары, музыкалык аспаптарды жа^ырту, музыкалык аспаптардыц реконструкциясы, прима-кобыз, шертер, электрондык домбыра.
Алтс. Жумыс BR10164111 «¥лы даланыц мэдени мурасы жэне казактардыц мэдени коды: eркениеттiк контекст» баFдарламасын максатты каржыландыру аясында ЖYзеге асырылды. Каржыландыру кeзi - Казакстан Республикасыныц Мэдениет жэне спорт министрлiгi. АлматыдаFы Ыкылас атындаFы музыкалык аспаптар муражайына TYсiрiлiм ЖYргiзуге руксат бергенiне жэне этноорганологиялык зерттеулерiмiз барысында колдау ^рсеткен Yшiн алFысымды бiлдiремiн. Fылыми жетекшлм Аида Айдынкызына прима-кобыз туралы кунды акпарат бергенi жэне зерттеудегi ынтымактастык Yшiн ерекше алFыс айтамын. 2023 жылдыц
Автор колжазбаныц со^ы нускасын окып куптады жэне мудделер кактыысыныц жок екендтн мэллмдейдг
шллдесшде Ганада ец !р! этномузыкалык форумы - Халыкаралык дэстурл1 музыка кецесшщ 47-1±л Дуниежуз1л1к конференциясыныц (каз1рг1 Халыкаралык музыка жэне би дэстурлер1 женшдеп кецес) аясында еткен «Б¥рынFы жэне бугшп, рухани жэне дуниел1к кайшылыктардаFы аспаптардыц материалдык жэне мэдени ем1р1» дискуссиясыныц нэтижелерш талкылауга мен ынталанды^ан эрттестер1м Янник Уэй, Манами Сузуки жэне Эмин Сойдашка улкен алFыс айтамын.
Дэйексвз Yшiн: Недлина, В. Е. Казак аспап жасау жэне орындаушылык тэж1рибесшдеп неотрадиционализм жэне инновация // Saryn. - 2023. - Т. 11. - № 4. - 34-53 б. - DOI: 10.59850/SARYN.4.11.2023.33.
Макала редакцияFа TYCтi: 11.08.2023
Рецензиядан кейш мак¥ЛданFан: 10.10.2023
ЖариялауFа
кабылданды: 06.11.2023
Валерия Недлина
Казахская национальная консерватория имени Курмангазы (Алматы, Казахстан)
Неотрадиционализм и инновации в казахском инструментостроении и исполнительской практике
Аннотация
В XX и XXI веках казахская музыка прошла три волны инноваций: после тысячелетий сольного исполнения в первые десятилетия советской власти появились ансамбли и оркестры, затем в 1970-80-е этнографические, иконографические и археологические исследования вернули к жизни утраченные или почти забытые инструменты, а в 2000-е годы под глобальным влиянием появились новые виды ансамблей и неофолк-инструментов. Все эти изменения были вызваны двумя противоположными тенденциями: интенсивное межкультурное взаимодействие (прежде всего по оси Запад - Восток) и растущий интерес к прошлому нации. Это неотрадиционное мышление влияет, с одной стороны, на конструкцию музыкальных инструментов, с другой - на исполнительскую практику.
В первую волну необходимость создания оркестра казахских народных инструментов, заявленная Ахметом Жубановым, привела к основанию мастерской, где создавались унифицированные домбра (щипковый хордофон для лютни) и кобыз (смычковый хордофон для лютни) вместе со своими модернизированными собратьями (прима, альтовая и басовая версии). Во время второй волны такие видные ученые, как Болат Сарыбаев, обратились к восстановлению утраченных инструментов (шертер, жетыген, саз сырнай, ударные и др.), которые позже были включены в состав оркестров и ансамблей и даже институционализированы в классах консерватории. Третья волна прочно связана с различными видами популярной музыки. Некоторые ансамбли (как Turan и Hassak) двигались в сторону стиля World music, другие (как Aldaspan) экспериментировали в направлениях электроники и рока.
Итак, очевидно, что все три волны взаимосвязаны. Унификация и эксперименты с материалами в раннесоветский период, а также появление специальных мастерских и лабораторий народной музыки создали систематический цикл исследований и реконструкций.
Ключевые слова: неотрадиционализм в музыке, казахская музыка, казахские музыкальные инструменты, модернизация музыкальных инструментов, реконструкция музыкальных инструментов, прима-кобыз, шертер, электрическая домбра.
Благодарности. Работа выполнена в рамках целевого финансирования программы BR10164111 «Культурное наследие Великой степи и культурный код казахов: цивилизационный контекст». Источник финансирования - Министерство культуры и спорта Республики Казахстан. Выражаю благодарность Музею музыкальных инструментов имени Ыкыласа в Алматы за разрешение на съемку и поддержку во время наших этноорганологических исследований. Особая благодарность моему руководителю Аиде Айдынкызы за предоставленную мне ценную информацию о прима-кобызе и сотрудничество в исследованиях. Глубочайшая благодарность моим коллегам Яннику Уэю, Манами Сузуки и Эмину Сойдашу, которые вдохновили
Автор прочитал и одобрил окончательный вариант рукописи и заявляет об отсутствии конфликта интересов.
меня обсудить результаты этого исследования на 47-й Всемирной конференции Международного совета по традиционной музыке (ныне - Международный совет по традиционной музыке и танцу) в июле 2023 года в Гане в рамках дискуссии «Материальная и культурная жизнь инструментов в напряжении между прошлым и настоящим, между священным и мирским».
Для цитирования: Недлина, В. Е. Неотрадиционализм и инновации в казахском инструментостроении и исполнительской практике // Saryn. - 2023. - Т. 11. - № 4. - С. 34-53. - DOI: 10.59850/SARYN.4.11.2023.33.
Статья поступила в редакцию: 11.08.2023
Одобрена после рецензирования: 10.10.2023
Принята
к публикации: 06.11.2023
Автор Валерия Ефимовна Недлина -туралы енертану кандидаты, K,¥PMaHfa3bi атындаFы Казак, улттык, м^мет: консерваториясыныц музыкатану жэне композиция кафедрасыныц доцентi (Алматы, Казахстан) ORCID ID: 0000-0002-4200-5702 email: leranedlin@gmail.com
Сведения Валерия Ефимовна Недлина -
об авторе: кандидат искусствоведения, доцент кафедры музыковедения и композиции Казахской национальной консерватории имени Курмангазы (Алматы, Казахстан) ORCID ID: 0000-0002-4200-5702 email: leranedlin@gmail.com
Author's bio:
Valeriya E. Nedlina -
PhD in Arts, Associate Professor, Musicology and Composition
Department, Kurmangazy Kazakh National Conservatory
(Almaty, Kazakhstan)
ORCID ID: 0000-0002-4200-5702
email: leranedlin@gmail.com
