В статье рассматриваются исторические корни традиций музыкально-поэтического состязания в казахской и европейской культурах и их роль в современном обществе. Цель исследования – выявить структурные, музыкальные и перформативные механизмы агонистических принципов в практиках музыкального состязания и сопоставить их репрезентации в казахском и европейском культурных контекстах. В данном ракурсе айтыс рассматривается как репрезентативная модель музыкальной агонистики в казахской культуре. Для анализа айтыса были комплексно применены методы этномузыкологического анализа (выявление ладовых, ритмических и интонационных особенностей), систематизация жанровых характеристик, культурологический анализ (определение символической роли в обществе). Кроме того, на основе этномузыкальных подходов и структурно-фразового сравнения были исследованы ладовые, ритмические и интонационные структуры айтыса и других импровизационных моделей. Показано, что айтыс обладает агонистической структурой, основанной на исполнительском мастерстве, синтезе текста и музыки, а также диалоге с аудиторией. В европейских традициях элементы соревновательности в основном сохраняются в историко-фольклорном контексте. Айтыс, адаптируясь к современным форматам, включая медиа и международные площадки, сохраняет свою значимость как культурный код. Айтыс является феноменом, отражающим агонистическую память казахской культуры, укрепляющим профессиональное мастерство исполнителей и национальную идентичность. Данное исследование предлагает новую теоретическую основу для применения айтыса в кросс-культурной коммуникации и образовательной практике.
Дәйеккөздер тізімі
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