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Article publication date
2023-06-29
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81–89 б
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Arts & Humanities
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Abstract
The subject of the peer review is the Aqqular Sazy collection by Raushan Orazbayeva. It includes notations of 26 kyuys for qyl-qobyz, dedicated to the swan, a sacred image of Kazakh art. The author is the bearer of an ancient tradition, the creative heir of Yqylas Dukenuly and Daulet Myktybaev, whose school she adopted through the teacher Abdimanap Zhumabekuly. She is widely known in Kazakhstan and abroad.
The main method of peer review was content analysis, during which the significance of the collection was revealed in the context of the history of Kazakh music, Kazakhstani musicology, music education, and performing arts. For the first time, almost all versions of the musical image of a swan, from archaic folk kyuys to the works of young composers (Togzhan Karatay), are collected in a single volume.
The historical value of the fundamental work of Raushan Orazbayeva lies in the construction of the chronology of Aqqu kyuys and in the inclusion of similar images that had previously “migrated” to the dombra and sybyzgy repertoire in qobyz music performance. For this purpose, she herself made and tested in creative practice the qobyz transcriptions of the kyuys by Qozheke Nazaruly, Alshekey Bektіbayuly, Sybankul Kalbassuly, Sugіr Alіuly, Zhunusbay Stambayev, Nurgissa Tlendiyev, and Makalim Koishibayev. Also, each kyuy is equipped with a legend, many of which were not previously recorded and existed only by word of mouth.
The scholar value is in a number of verbal historiography pieces summarised by Raushan Orazbayeva, in the inclusion of musical ethnographic data in the collection, as well as in the scholar edition of the musical text. As a practicing performer, she carefully checks all techniques and updates musical notation methods.
The methodological significance is due to the presence of detailed comments about the qobyz, performing techniques, and annotations for each kyuy with instructions, which are useful not only for beginners but also for experienced qobyzshi. The innovation of the collection is in equipping it with high-quality photo illustrations showing performing techniques, as well as audio and video applications with recordings by Raushan Orazbayeva.
Keywords
qobyz tradition
music collection
qyl-qobyz
swan image in music
Raushan Orazbayeva
Aqqu kyuy
References
Conard, N. J.; Malina, M.; Münzel, S. C. New Flutes Document the Earliest Musical Tradition in Southwestern Germany // Nature. – 2009. – Т. 460. – №. 7256. – PP. 737–740.
Lahelma, A. Strange Swans and Odd Cucks: Interpreting the Ambiguous Waterfowl Imagery of Lake Onega //Visualising the Neolithic. Abstraction, Figuration, Performance, Representation, Oxford. – 2012. – PP. 15–33.
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References
Beryozkin, U. E. Mif o nyryalshchike za zemley v yevraziyskikh stepyakh? [orig. Russian: The Myth about a Diver for the Dry Land in the Eurasian Steppes?] // Proceedings of the Scientific Conference, dedicated to the 100th anniversary of the birth of the Doctor of Historical Sciences A. M. Mandelstam and the 90th anniversary of the birth of the Doctor of Historical Sciences I. N. Khlopin, 10–12 November 2018. – Saint Petersburg: Institute for the History of Material Culture of RAS, 2020. – PP. 49–52.
Conard, N. J.; Malina, M.; Münzel, S. C. New Flutes Document the Earliest Musical Tradition in Southwestern Germany // Nature. – 2009. – Vol. 460. – PP. 737‒740.
Lahelma, A. Strange Swans and Odd Ducks: Interpreting the Ambiguous Waterfowl Imagery of Lake Onega // Visualising the Neolithic. Abstraction, Figuration, Performance, Representation. – Oxford, 2012. – PP. 15–33.
Orazbayeva, R. Aqqular sazy. Oqu-adіstemelіk qural [orig. Kazakh: Swan Melodies. Educational and Methodical Guidelines]. – Almaty: Oner, 2018. – 174 p.
Published:
2023-06-29
Received by editorial:
2023-10-11
Journal number
№ 2
Volume
11
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