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RITUAL FOLKLORE OF THE KAZAKHS AS ANCIENT PLAST OF NATIONAL CULTURE
Kuzbakova G.,
PhD in Musicology, Kazakh National University of Arts Tauelsizdik, 50, Nur-Sultan Imasheva A. PhD in Pedagogical Sciences, Kazakh National Conservatory named after Kurmangazy Abylai Khan Avenue 86, Almaty
Abstract
The article is devoted to ancient family-ritual songs of Kazakhs. The study shows the basis of figurative and artistic poetics of ritual genres. Songs of maternity, wedding and funeral rites are described as an ancient layer of national cultural traditions, preserved by the Kazakhs to this day. The main constants of the worldview of the family-ritual song genres of the Kazakhs are revealed - Tengrian mythopoietic ideas and beliefs about life and death, an animistic understanding of nature, the human life cycle, the idea of reincarnation.
Keywords: Kazakh song folklore, Kazakh music, cultural traditions, ritual songs, traditional art, tengrinism, wedding ceremonies, farewell songs of brides, traditional worldview
The process of globalization and integration, which is constantly expanding and has a huge impact on the existence of societies and States, is known to be an integral feature of our time. In the context of information openness, national communities are increasingly entering into economic, political and cultural interactions. In this regard, in the twenty-first century, in a globalizing world, the problem of preserving spiritual and cultural traditions is acute for each individual state. Opposition to total integration is the aspiration of peoples to preserve the values and achievements of national culture, identity, spirituality.
In the musical and poetic work of the Kazakhs, a system of genres of epic, song and instrumental traditions has been preserved, rooted in the depths of centuries. The earliest layer of Kazakh traditional music -family-ritual song folklore, seems to have played a primary role in the formation of professional branches of Kazakh musical art - song, epic and instrumental. The genres of Kazakh ritual folklore are songs of maternity rites and rites related to birth and childhood ("Oldi", "Bala Uatu". "Besik Zhyry", "T^sau Kesu" etc.), Wedding ("Synsu', "Koshtasu", "Tanysu", "Zhar-Zhar", "Toibastar", "Betashar", etc.) and funeral cycles ("ZhoKtau", "Zhila'u", Zar).
Ritual songs performed in a family circle reflected the deep layers of collective memory, ancient beliefs, ideas about macro- and microcosm. Ritual rhythmofor-mules performed in syncretism with intonation are carriers of constants of a traditional worldview. Alexandr Zataevich wrote: "...not a single girl had the moral right to marry without her own composed song. .The death of a person also gave birth to a new song" [3, page 193]. Thus, the ritual song performed in close syncretic unity with ritual action.
Thanks to the artistic imagery created by musical and poetic art, when "thoughts take on a more convincing and intelligible form than abstract ideas..." [3, p. 93], the customs, traditions of moral unwritten steppe
laws, views and beliefs are preserved to this day. Through music and poetry Kazakhs carried out the transfer from generation to generation of worldview with its religious, cosmogonic and environmental ideas. So, in the song "Elimai" about the separation of tribe, the dombra kuy-legend "Msa^ K¥lan" and other works of folklore and oral-professional music, the zho^tau ritual theme-formula sounds like a symbol of loss, thereby summarizing the content of music.
There are images of the sun and moon, fire, water, totemism, nature are in the poetry of almost all ritual genres. The collectiveness of these images indicates the capture in the people historical memory of beliefs and ideas about the world, which laid the foundations for the worldview of the Kazakhs, which influenced the mentality of the Kazakh ethnic group, which had an enduring effect on the spiritual primevoles, which crystallized in the collective unconscious.
Musical andpoetic formulas in ritual genres go back to Tengrian mythopoietic ideas. So, "the cult of fire among the Turks, like the Mongols, was associated with the belief in his powerful cleansing power from evil, granted by Tengri. The information of the Byzantine ambassador Zemarch (568), who was cleared by fire before being admitted to the kagan, has been preserved. The funeral rite of the Turks is associated with the cult of fire - the custom of burning the dead. The "ot" ('fire') found in poetic texts of funeral and memorial lamentations is an echo of the oldest belief of the khazaks. The fire is elevated to the status of a deity, it must be maintained as a living pervasive entity [8, c.106].
The reflection of sun-light in the songwriting of Kazakhs in this regard is evidenced by the so-called steppe songs. Alexandr Zataevich in a note to his collection "1000 songs of the Kazakh people" cites interesting facts testifying to the existence of ancient ritual songs that met sunrise in the steppe [3, No. 124].
The moon as a celestial light was also an object of worship, its veneration arose much later and was only
among the traditions associated with the lunar calendar [7]. The figurative opposition of the "ai - kYn" - "sun and moon", typical of the worldview of the Kazakhs, is found in the Betashar song: Iilip bir jat elge kelip You came to someone tursin, else's people
Aldinnan ay-kun twip Let the bright sun and the jarilqasin moon meet you!1
Widely known for the philosophy and religion of Buddhism, the idea of reincarnation is also characteristic of Kazakhs. In the world perception of the Turks, death did not have the character of a final event, but was thought of as a transitional stage preceding a new birth. Associated with it is a wedding rite, saturated with the symbolism of transition. The idea of initiation - death in one quality and birth in another, threshold-border of the worlds, permeating the ritual actions of the wedding, objects endowed with sacrality, is directly reflected in the poetic metaphors of wedding farewell songs.
In the wedding rite of the Kazakhs, the symbolism "living-dead" is played. The marriage of a girl is perceived in the traditional concept as a mythological, ritual death. Natural in this regard in poetics to a "Synsu" is the opposition of life and death.
This is how the famous scientific geographer and traveler, a member of the Russian Geographical Society Victor Radlov describes the departure of the young bride: "By the departure of the newlyweds from the father of the young woman, the whole aul in which she lived is gathered. Here the father solemnly presents his son-in-law with a dowry on camels and horses, and then makes his daughter his instruction, exhorts her to be faithful and virtuous, says goodbye to her and, finally, putting her on a horse, brings her for an occasion to her husband. Young spouses usually go with the tears and cries of the women gathered for goodbye" [9]. Let us give an example of the wedding farewell song of the bride Sy«su (Example of "Wedding Song of the Bride"), recorded in the Karaganda region in 1986 (Fund of the Folklore Laboratory of the Alma-Ata State Conservatorie named after Kurmangazy), the poetic text of which confirms what was said.
The following poetic text also confirms marriage as death:
Bazardan kelgen tort kilem, Tortewi de tus kilem, Bararda-aw, tiri-aw, ketti demesen, Olgennen munin nesi-aw, kem The idea of reincarnation is also associated with the idea of circular time, which exists today. So, the ritual song toybastar is performed before the start of the feast on the occasion of any celebration related to the birth of a child, matchmaking, wedding, anniversary, mush-toy, initiation, moving to 'jailau'(steppe) , tysau kesu, sYndet toy, etc. The toybastar rite can also be performed at the
end of the feast. The owners take out gifts and a new treat on the tray, which is played out by the guests. After performing a song or cuya, gifts are distributed among guests. "In no case should a happy and successful wedding one end, at the end it must definitely give rise to the next, the same happy toy" [6, c. 19]. This ceremony is the key to the continuity of well-being - the hosts of future festivities will take the baton, which is associated with the Tengrian ideas about maintaining the continuity of the "good, happy" Time.
In the farewell songs of brides, a wide variety of established poetic categories should be noted, metaphors and images, the genesis of which leads to ancient Turkic, Kazakh mythology (images of birds and trees) and Ten-grianism (celestial luminaries of the moon and sun) [1, 5; 10].
The figurative and poetic system of ritual poetry is unusually rich. The rite "seems to highlight the side of things, actions, phenomena that are obscured in ordinary life, are not visible, but in fact determine their true essence. Hence, the duality of all phenomena and the switching from the level of daily life to the level of current values" [4]. This can explain the system of prohibitions in prescribing behavior in Kazakh traditional society. So, it is forbidden to step on the threshold, the center, since it is the abode of spirits, to step and scatter ash so as not to desecrate the spirit-owner of fire, offend the old, since they are close to the world of the dead, etc. The roots of such a behavioral stereotype lie in the animosity of the traditional Kazakh worldview, which also dates back to Tengrianism.
Thus, the ritual songs of the Kazakhs, rhythmic formulas like the established musical and rhythmic forms of the embodiment of the poetic line, give the key to a deeper, adequate understanding of ritual themes as signs of the Kazakh culture. The figurative and poetic system of ritual folklore of Kazakhs reflects a systemic factor - life cycle stages birth, wedding, death. The main content of the ritual forms of music and poetry is the life-affirming idea, the idea of the unity of man and nature, the anthropological model of the world, the absence of pathos of the struggle against nature inherent in the collectivism of settled agricultural peoples.
Being associated with the native strata of national culture, Kazakh family-ritual folklore provides a powerful channrl for translating sp iritubl values to the level of masa social consciousness. Sacre d ritual songs are a kind of media encoded through musical and poetic means of the o riginal cultural meanings that determine the appearance of the entire national culture. In the music of a later time - oral-professional tradition and the period of creativity of composers of the Soviet and post-Soviet periods - the ritual tastes isolated from the original syncretism of music and action are included as symbols and stylistic details.
1 From the Folklore Laboratory Fund of the Kurmangazy Kazakh National Conservatory
References
1. Abuov A.P. Religious views of the ancient Turks: Tengrianism or shamanism // Ancient Turkic civilization: written monuments. - Almaty, 2001. -P.217-222. [Published in Russian]
2. Baikadamova K., Temirbekova A. Kazakh customs and traditions (tutorial) - Almaty, 2001. [Published in Russian]
3. Zataevich A. 1000 songs of the Kazakh people. - Almaty, 2004. - 607 p. [Published in Russian]
4. Zemtsovsky I. Genre, function, system // Soviet music, M.: - 1971 - № 1. [Published in Russian]
5. Kazakhs. Historical and ethnographic research. - Almaty: Kazakhstan, 1995. - 352 p. [Published in Russian]
6. Mukhambetova A.I. Tengrian calendar and time in Kazakh culture //Eurasia.- 2001. - № 2. [Published in Russian]
7. Nurzhanov A. Tengrianism as a cult, spiritual symbols of the Turkic-speaking peoples in the Middle Ages. - KazNPU Bulletin. - Almaty, 2013. [Published in Russian]
8. Orynbekov M.S. Beliefs of ancient Kazakhstan. - Almaty, 1997. [Published in Russian]
9. Radlov V.V. From Siberia. M: Publishing house of the Academy of Sciences of the USSR, 1989. - P. 312 -313. [Published in Russian]
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JOHANN SEBASTIAN BACH TOCCATA AND FUGUE D-MOLL "DORIAN" FOR ORGAN BWV 538 In search of the original source
Prodma T.
Candidate of art criticism ORCID 0000-0001-9180-1935
ИОГАНН СЕБАСТЬЯН БАХ ТОККАТА И ФУГА D-MOLL «ДОРИЙСКАЯ» ДЛЯ ОРГАНА BWV 538 В поисках первоисточника
Продьма Т.Ф.
кандидат искусствоведения ORCID 0000-0001-9180-1935
Abstract
This article raises a question regarding search for a musical source for Toccata and the fugue d-moll "Dorian" BWV 538. I am proposing a version for consideration: Bach could choose the chorale "Christ, unser Herr, zum Jordan kam" as the source for the creation of the organ toccata's cycle BWV 538. The conclusions are based on a comparative analysis of the melody of this chorale with the beginning of the toccata and the theme of the fugue "Dorian". The chorale's treatments "Christ, unser Herr, zum Jordan kam" BWV 684 and BWV 685 are involved in the comparative analysis. The general techniques of musical development and sound images are considered as a binding component present in the melody of the chorale and in all the above-mentioned works.
Аннотация
В данной статье поднимается вопрос, касающийся поиска музыкального первоисточника для Токкаты и фуги d-moll «дорийской» BWV 538. Предлагается на рассмотрение версия: при создании органного ток-катного цикла BWV 538 Бах мог избрать в качестве истока хорал «Christ, unser Herr, zum Jordan kam». Выводы основываются на сравнительном анализе мелодии данного хорала с началом токкаты и темой фуги «дорийских». К сравнительному анализу привлекаются хоральные обработки «Christ, unser Herr, zum Jordan kam» BWV 684 и BWV 685. В качестве скрепляющего компонента рассматриваются общие приёмы музыкального развития и звукоизображения, присутствующие в мелодии хорала и во всех вышеназванных произведениях.
Keywords: J.S. Bach. Toccata and the fugue d-moll "Dorian" BWV 538; the chorale "Christ, unser Herr, zum Jordan kam" as a musical source; choral preludes for organ «Christ, unser Herr» BWV 684 and BWV 685.
Ключевые слова: И.С. Бах. Токката и фуга d-moll «дорийская» BWV 538, хорал «Christ, unser Herr, zum Jordan kam» как музыкальный первоисточник; органные хоральные прелюдии «Christ, unser Herr» BWV 684 и BWV 685.
