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Section 1. Musical arts
Berdikhanova Shahida Nurlybaevna, doctoral candidate (PhD) of the "Music Theory" Department of the State conservatory of Uzbekistan, Uzbekistan, Tashkent
E-mail: shahida88@bk.ru
THE RHYTHM OF THE KARAKALPAK FOLK SONGS
Abstract. The musical culture of the Karakalpak people is an unique phenomenon, which has a long history, in its origins closely associated with the work of related peoples inhabiting the territory of Central Asia. Karakalpak folklore has a variety of genres and forms, which embody the history, life, customs and traditions.
In the modern world, the issues of revival, preservation and promotion of national traditions of ethnic cultures, and in particular their musical heritage is one of the most urgent problems of art.
The study of the rhythm of the Karakalpak song tradition will allow to comprehend the basic laws of the musical language of the Karakalpaks. Problems of musical rhythm on all existence of musical-theoretical views, since antiquity up to the present time, occupied and continues to occupy one of the main and actual problems of musicology which served as a support for the address to the declared subject of this article. Reliance on the principles of comparative analysis, first of all, contribute to the identification and establishment of the national and universal sides of the phenomenon in question.
Keywords: Karakalpak folklor, national traditions of ethnic culture, Karakalpak song tradition, musical culture of the Karakalpak people.
The study of expressive means, traditionally formed musical genres, in particular their rhythmic structures, is one of the main tasks of modern musicology. In the development of the musical culture of the Karakalpak people, song creativity occupies a special place. Invariably, the song accompanies the main milestones of life: birth, wedding, death, ubiquitous in everyday life, serves as a decoration of toy and celebration.
In the songs of Karakalpaks, the samples of the poetry ofprominent poets Berdakh, Ajiniyaz, Kunkh-adji and classic of the Turkmen poetry - Mahtumkuli found its musical incarnation. Evolving over the centuries, song genres have been born and linked by ritu-
als, customs, historical events. The rich content offolk song possesses the great strength of emotional impact, distinguished by rhythm and intonation richness, diversity poetic images and melody.
A number of these scholars - folklorists as N. A. Baskakov, Ch. Valikhanov, N. Davkaryev, K. Aimbetov, A. Tazhimuratov, T. Nietullaev, A. Di-vayev, K. Mambetov, K. Muratbaev, K. Raich which made a valuable contribution to the study of the Karakalpak linguistics and folklore in general dedicated their works to the study of Karakalpak song heritage. Their studies were mainly connected with the collection, classification and publication of the texts of the vocal works of Karakalpak people.
In the field of historical and theoretical musicol-ogy special significance are the writings of T. Adam-baeva, A. N. Azimova and S. Khisamova that in their research studied the specifics of the Karakalpak folk art, their modal and semantic foundations.
There are almost no works dedicated to the melody of the songs in particular, its modal-based, rhythm and intonation development. Due to the absence and little-known folk songs, we set the task to consider the rhythmic features of Karakalpak folk lyrical songs.
It should be noted that the rhythm, along with the modus intonation sphere, is a fundamental component of the musical language of monodic cultures. In the works of Turkic-speaking researchers the great attention is paid to the problem of metrorhythmic organization in professional music of oral tradition and folk songs.
V. Belayev, K. Temirbekov, A. Baygaskina, T. Al-ibakiev, N. Abubakirova, Sh. Gullyev, T. Mamedov, T. Solomonjova, R. Sultanova, A. F. Nazarov dedicated their works to the researches of correlation of poetic and musical rhythm of the Turkic peoples (Azeri, Turkmen, Kazakh and Uzbek music).
In addition to the above studies in musicol-ogy the issues of rhythm was addressed in the works of A. Fitrat, I. R. Radjabov, F. M. Karomatov, T. B. Gafurbekov, O. R. Matyakubov, R. S. Abdul-laev, R. Y. Yunusov, O. A. Ibragimova, in the context of a study of the foundations of Eastern traditional music and folklore (Fitrat А. Узбек классик мусикаси ва унинг тарихи. Samarkand, Toshkent, 1927., Radjabov I. Макомлар масаласига доир. 1963., Раджабов И. Макомасослари 1992., Karomatov, Uzbek instrumental music. 1972., Gafurbekov T. B. Folklore sources of Uzbek professional musical creativity. 1984., Gafurbekov T. B. Creative resources of national monody and their refraction in Uzbek Soviet music. 1987., Matyakubov O. R. Fara-bi on the basics of Oriental music. 1986. Ibragi-mov O. A. Mahoutsukai // Rajanikant. 1994).
When studying the musical-temporal structures of traditional music, it is certainly necessary to take
into account the specific features of each culture, expressed in the national musical thinking, which are directly dependent on the structure of the peculiarities of the poetic language. The solution to this problem, namely the study of the rhythmic structure of the national musical language, is extremely difficult, primarily due to the lack of common methodological approaches. In this regard, we give a consideration of V. N. Kholopova: "The formulation of the problem of national specificity in the rhythm is natural for the reason that rhythm as a means of expression is especially characteristic, "physiognomic", the rhythm intonation is "portrait", and in no other element of the national accent of musical speech is revealed as clearly as in the rhythmic one" [5; 3].
One of the founders of the study of the metro-rhythm of songs of Turkic peoples is V. Belayev. His approach is based on the method of algorithmic analysis of the verse presented in the works of ancient Greek and medieval thinkers of the East. According to Belayev, the choreic musical and poetic system gave origin to the main rhythmic formula ofArab-Persian music, called "Zarb-I Kadim" - "ancient rhythm" (literally: "blow") consisting of two sabab - and hafifs -the simplest rhythmic formations [3, 96-97], from a combination of which, various types of poetic lines are formed. Belayev also cites the idea of the rhythmic unity of the text and melody: "a folk song in its specific existence is a high - pitched recitation of the song text, receiving a rhythmic organization in time through the correspondence between the verse and melodic accents" [4, 52].
These provisions, identified by V. Belayev in the study of folk songs of different ethnic cultures, served as a support for further research in the field of theoretical musicology.
From special works, covering the problem of the rhythm of the Turkic-speaking songs, it is necessary to highlight the monographic work ofA. Baygaskina "Rhythm of the Kazakh traditional music" [2].
Analytical approach of Bygaskina in the study of the rhythm of the songs, is based on the totality
of syllabic-rhythmic method of V. Belayev with the laws of the Kazakh poetry, which allowed the author to review and determine the typological rhythm formulary designs from syllabic groups to complete song verse.
Due to the lack of works devoted to the rhythmic foundations of the Karakalpak folklore genres, when considering the rhythm of folk lyrical song genres, we found it possible to rely on the above methods of analysis, in particular, on the methodology developed in the works of V. N. Kholopova, V. Belayev, V. I. Yelatov, P. F. Stoyanov and A. E. Baygaskina.
These works are significant in that the proposed methods of analysis, where the system of versification is the main structural component of the rhythm, and is effective in relation to the study of the rhythm of the song culture of the Turkic-speaking countries.
In this speech, only the ode to the rhythm of Karakalpak folklore is consecrated, namely, the rhythmic formulas are presented, which represent one of the basic elements that form the basis of the architectonics of songs. It is conventionally identified by us as rhythm formulas (RF).
Before moving on to the actual analysis, we will clarify the concept of "rhythm formula" introduced into musicological practice by V. N. Kholopova.
No. 1. "Yedenbaynmasy"
Rhythm formula (RF) - is relatively integral rhythm formation, which, along with the ratio of durations necessarily takes into account the accentuation, so more fully revealed the intonation nature of the rhythm structure. Unlike rhythmic pattern,... rhythm formula is the formation relatively short and separated from the environment, approaching to the motive by independence. Rhythm formulas, in general, are an important stylistic and genre figures in music and expressive of national traits [5].
Referring to the fact that national songwriting is a syncretic unity of poetry and music, which is repeatedly confirmed in the scientific investigations of philologists and musicologists under rhythm formula, we will consider the rhythmic expression of individual words - defining them as basic "rhythm formulas" (BRF) and the group of words (bunaks) - "combined rhythm formulas" (CRF). Perceiving them as the smallest rhythmic unit of the song, the totality of which contributes to the formation of typological rhythm formulas -rhythm lines (RL) and rhythm verses (RV).
Thus, consider the basic rhythm formulas (BRF), which include two-and three-syllable rhythmic structure.
The most common type of two-syllable is uniform
-J
(KNP. p. 18)
It is one of the basic examples of the rhythmic design of Karakalpak writing. As a universal example of the rhythmic design of bunak, it can be used at all stages of melodic formation.
No. 6 "Chimbai"
The next type of formulaicity of two syllables RF
is called "lame" J> JiAD
It performs the function of braking, is also one of the factors for the slow melodic movement.
(KNP. p. 22)
There is also dotted rhythm - ; two-syl-
lable RF, it contributes to the intensity of melodic movement.
Depending on the location in the verse line three-syllable RF are of different types. Next, let's look at the most common varieties.
3-BRF.l. Rhythm of summing: J; J^^b; J J J - often performs the function of a rhythmic cadence in the songs. In the majority of cases occur in the final sections of meloline:
No. 10 "Gel-gel-ay
KNP. p. 39
Щ J' J Ш я p I
No. 15 "Periyzat"
By -зыл-ган ша-тш-ди а- зат e—пит -сен
3-BRF.2. Another option of summing rhythm is the following configuration trisyllabic RF, dotted J. } }>}■ i J' J5 ^ J), as well as the previous version of the three-syllable RF performs the function of rhythmic cadence.
3-BRF.3. Uniform ^ ^ J^} ^ ^ J\-J J J. uniform three-syllable RF, as already noted, is the basic in the construction of Karakalpak lyrical songs. It is as well as two-syllable RF, in most cases, occurs at the beginning of meloline.
KNP. p. 32
3-BRF.4 "Lame" type of formulaicity of trisyllabic RF can occur in initial and final sections of lines in the composition of six-syllable or pentasyllabic bunaks. This type of three-syllable RF in Karakalpak lyrical songs is presented in two versions:
J;
No. 17 "Kyzbahsynamasy"
In the example of the song "Kyzbahsynamas", 3-BRF.4-a is used at the end of meloline in the composition of pentasyllabic RF. We can say that the chanting of the last syllables in this way or during the half-line is one of the features of Karakalpak folk (mostly lyrical) songs. For example, in the Kazakh songs, a characteristic is considered to be the adding and singing of extra-textual syllables.
The second type of three-complex "limping" bu-nak 3-BRF.4b is less common. They can be formed from composite bunaks and occur at the beginning, middle and, to a greater extent, at the end of small-scale construction. For example, a song:
wJ^-WJ Л-J J J.
Among them, the first type is more common compared to the second type. In the songs it performs the rhythmic cadence and is found mainly in the final parts of meloline (among 50 songs in 14 it is possible to observe this type of trisyllabic bunak). For example:
KNP. p. 13
p. 70
No. 20 "Biykesh" KNP.
Í > b b b ^ ^^ }}} M
1—S—S—S—S-— —-— —m m— -
an; cym-n;a-pbm a-Mcm deu-dii yja- pa-sbui (a)
3-BRF.5. This type is presented by broken rhythm-J J>J>;J>»;JJ J
The broken type of rhythmic expression of the three-syllable bunak is less common in comparison with other variants of the rhythm formula of three-syllable RF. It has an upward type of stress, observed in the middle or at the end. Merging with the subsequent bunak it creates an impulse to melodic advancement. It can be a part of six-syllable or
б
pentasyllabic RF in combination with three-syllable or two syllables RFs:
No. 22 "Nazlym" KNP. p. 80
Overall, the basic rhythm formulas (BRF) based on the specifics of composite applications are divided into the following types:
- initial (IRF);
- middle (MRF);
- the final (FRF).
The first type of IRF includes uniform, dotted varieties of rhythmic structures that form a dimension, the intensity of melodic advancement.
The second type of SRF, perform the function of deployment, stresses, which are characterized by -limping, broken and dotted varieties of rhythm.
FRF, in turn, is divided into two categories: the middle - used in the interval of 2 and 3 lines ofverse, and cadence - the final verse stanza. In the middle FRF both summing and limping rhythmic structures are used, where the application of the second of them contributes to the unification of line in some cases and stanzas, creating a continuity and integrity of the songs.
Reliance on a comprehensive analysis, taking into account the specifics of the folk poetry and the laws of the musical language, is the most effective method to identify the typological characteristics of the manifestation of rhythm.
It should also be noted that each of the Russian Federation can be used in different parts of the songs, performing a certain functional load giving color and originality of architectonics.
References:
1. Abdullayev R. Rite and music in the context of culture of Uzbekistan and Central Asia.
2. Baygaskina A. E. The rhythm of traditional Kazakh song. - Alma-ata. 2003.
3. Belayev V. M. Rhythm of Uzbek folk music // collection of compositions.- M., 1990.
4. Belayev V. Essays on musical folklore and ancient writing.- M., 1971.
5. Kholopova V. N. Russian musical rhythm.- M., 1983.
- Vol. 2006.
