Schools of dombyra tradition!

      When the art of kui had been strengthened, the traditional schools were formed in Kazakh region according to geographical, historical and cultural factors. From the geographical point of view and traditional similarities they are divided into several cultural areas. According to this traditional schools are in following territories : West, Arka and Zhetisu. Such kind of dividing are because of art of kui is divided into two big traditions according to http://links.jstor.org/sici?sici=0385-2342(1994)53:1%3C97:FAFIK%3E2.0.CO;2-T. In performance style they are called tokpe and shertpe. In tokpe tradition are performed music of West region which  are strong and burst in Arka. In tokpe tradition are peformed music of west region which are strong  , The term “tokpe” came out from the word  “togu” (to spill).,i.e to play with enormous power.   Shertpe is belong to Arka(central, northern, eastern Kazakhstan regions), Zhetisu, Southern or Karatau regions’ schools. The kuis of this tradition are calm in stress and full of mystery ideas and deep thoughts.  http://www.homestead.com/prosites-kazakhembus/zhaimov.html     

       Nation instrumental traditions in different regions of Kazakhstan historically developed like performance school, as a rule it is connected with favourite creative personality. It won’t be overstatement to say , that every well-known figure , gifted musician can be the head of the whole stream, direction or a new schools as it had done Kurmangazi, Tattimbet, Kazangap, Dauletkerei, Sugir. There are 8 dombyra traditional schools:

    First, it is school of Kurmangazi(grandfather of kui) and his follower(grandmother of kui). This is tradition of western Kazakhstan. Creative work of Kurmangazi presents obvious features of innovation and style of Western Kazakhstan traditional kui tokpe. His famous kuis as “Aman bol sheshem aman bol”, “Kairan sheshem”, “Kisen ashkan” and others have autobiographical character. Kuis “Saryarka”, “Adai”, “Balbiraun” reflected powerful movement of collective life and soul of people; they became musical symbols of Kazakhstan. The main pecularity of kuis of Kurmangazi are energy, dynamics and powerful gust.(www.peoples.ru/art/music/national/sagyrbaev)

Dina Nurpeisova is kuishi, who combined the tradition of 19-20^th centuries on her

 creative work, dynamism of Kurmangazi school, philosophic and aristocratic traditions of Dauletkerei. Her popular kuis are “Asem konyr”, “Bulbul”, “Zhiger”.        Second shool is connected with the name of kuishi Dauletkerei. He made great contribution to Kazakh instrumental music. And his kuis called “tore kuis” among people, because they philosophically concentrated and deep on thoughts. (www.asylmura.kz)    

    Third school is founded by Kazangap. His legacy in a great volume takes great stand in Kazakh classical instrumental music of 19, ^th 20^th centuries. It is considered

 that exactly Kazangap performed all sixty-two “Akzhelens”. Akzhelen  is a designation of instrumental piece of genre.   

    Fourth School is devoted to original instrumental tradition of Western Kazakhstan, tradition of Mangistau. It is characterized by high level of instrumentalism development and considerable peforming and creative pecularity. Names of Mangistau composers Abyl, Esbai, Esir, Kulshar, Oskenbai and Murat Uskenbayev are well-known to the world of Kazakh instrumental music. 

     Fifth school is the tradition of Arka. Arka is large region in the centre of Kazakhstan. A central figure of instrumental tradition of Arka is Tattimbet. A legendary appearance of him is founded not only due to several dozens of his brilliant kuis, but also traditions and original historical information. Lyrical music of Tattimbet kuis generalizes at high levels human emotions and spiritual experience. His kuis “Kosbasar”, “Sari Zhailau”, “Bilkildak”, “Silkildak”, “Bestore” took natural place of classic of Kazakh musical culture.  

     Sixth school is Eastern Kazakhstan. Instrumental tradition of Eastern Kazakhstan is broad and little studied in musical relation region is reach and varied. The form and structure of this region’s kuis reflect an ancient basis of musical creature a sound system of natural structure. We can say that Baizhigit’s school of kui is leader among kuishies in the East Kazakhstan. There are a lot of old tunes in his kuis.

         Seventh school is devoted to an instrumental tradition of Zhetisu. For this tradition absolutely represents an interesting and rich regional instrumental style, it has not yet got a proper fame and recognition. The tradition of Zhetisu is closely connected with the tradition of Eastern Kazakhstan and culture of Kazakhs, who live in China and Mongolia.     

     The eighth school is instrumental tradition of Karatau region. This instrumental tradition shertpe, without doubt, successfully connected with the tradition of Arka, heritage of Tattimbet, Toka and Dairabai. According to site http://dombradukazakhstan.calabashmusic.com/ a central figure of this tradition is Sugur, brilliant musician, who left a deep trace in the history of Kazakh instrumental tradition.   

   In conclusion, each of these traditional schools is like big, unreachable ocean where a great musical heritage is.       

 

   

What is dombyra?

  Dombyra is a kazakh stringed musical instrument played by plucking. It has wooden frame (its length is 1000-1300 millimeters) and two strings(www.orchestra.kz) Dombyra is the sole of kazakh people. It can show the most deep feelings and experience , also console in diffcult minutes of trouble.

  Dombyra-wisdom of people. Many of kuis(http://kazmus.wordpress.com/2007/06/20/history-of-traditional-music-in-kazakhstan/) are played with dombyra. From these kuis we can hear life experience of our ancestors, history of dramatical events , they bring knowledge about nature, philosophical views of humanity from generation to generation. Dombyra kuis were important factors of between generation succession and work as between timely tool of communication.

     Dombyra is a history of nomads. Through centuries and milleniums it brings memory about first pages of nomad’s history. Dombyra was witness of many historical events , which played key role in destiny of ancestors.

    As famous poet Kadir Mirzaliev said “real kazakh is not kazakh , real kazakh is dombyra!” our people always like, respect the songs and kuis peformed in dombyra. I suppose,In any kazakh family we can see at least one dombyra and at least one person in family could play it.

    National instrument dombyra in different region had different character. It varied in length, neck, shape of corpus and amount of frets. The national instrument in western Kazakhstan with long ,thin neck, pear-shaped form with 13-14 frets. Dombyra of Central Kazakhstan had wide and short neck , trapeziform or triangle form, with 6-8 frets. Unfortunately, in twentieth century hapenned unification of form and size, because of its industrial manufacturing.

The hip-hop challenges.

It was written that hip-hop in KZ is developing, but how it is developing; what are the reasons of the development; who are people that are developing it?

One of the reasons of fast prosperity is NITs! www.kzrap.kz site is the main force that pushes the moving hip-hop train with all the rappers.

It is world where rappers like a players in counter-strike have to kill each other in battles but with the art of their rhymes. Yes, it is hard to judge, but the judges are professional rappers, so that their decision cannot be argued.

About battles: two rappers are met in a battle by the results of sortition. The theme that they get has to be followed in their tracks (for example you must give a respect to your opponent in a such way that he will feel angry on you). They have to write a track on any minus that they choose, and the winner goes to the next round. Very interesting to listen to the battle between them, because it is not just a running down of an opponent, but beautiful art of rapping, although there were some cases when after battle rappers fought, but is makes battles even interesting.

There are 7 or 9 battles for one rapper, so you can imagine that not only one rapper participates.

Thousands of tracks can be downloaded, hundreds of rappers show their skills, and even more viewers get the pleasure.

  

The litle world in the large world.

The hip-hop world in Kazakhstan is not as diverse as in the USA or Russia, but it is developing, and has succeed already in Russia. Our national rappers and groups that have their own styles are really famous and have obvious authority among all the underground rappers in the former USSR countries. I am not mistaken, underground, because our showbizness is not developed yet. Yes our country has a lot of talents, but the money and required techniques are not available right now.

The only thing that encourages rappers is a perspective of development of show industry.

The understanding that Kazakhstan people like hip-hop and R’n’B is like aphrodisiac for the minds of native rappers. As for underground, lots of people in Kazakhstan listen to the tracks that can be downloaded from the commonly used www.kzrap.kz site.

Some interesting facts

The Republican museum of national instruments opened in 1980, is one of the few similar in the world. Now museum is situated in the building of the former House of the officer assembly constructed in 1908 by architect A.Zenkov. In front of the museum you can see the sculptural image of a national musical instrument NARKOBIZ. In museum save over 1000 exhibits, here it is collected more 60 kinds of types and versions of the Kazakh national musical instruments which used singers, poets and composers Abay, Birzhan, Zhambyl, Seytek, Dina, Kyzyl Zhirau, A.Zhubanov, K.Azerbayev, A.Khasenov, M. Ержанов and others.

What difference between our and foreign show business? (cont.)

We think that a difference big, because in our country hard to make the way. And our stars are not present to demand. May be some singers have talent. But it’s not enough to become a celebrity, it is necessary not only talent, but also communications and money. But even have all it, you only can become a star in Kazakhstan. We have only one group which could to make the way in Russia, it’s A-studio. Though as you know now there is a dispute it is the Kazakhstan group promoted in Moscow or is the Moscow group in which simply is pair Kazakhs. Personally I like this group, but I think they have betraid our country. Earlier there were Kazakhs, and now? And group became international. Now group live in Moscow. Only one group which has won hearts Russian people, it’s too progress. Why in foreign countries to be star easier? For example, if we take Madonna.One of the day Madonna has decided that only in New York it will manage to promote. She bought ticket and went to New York. It was her first flight. She took small suitcase, clothes, ballet slippers and only 37 dollars. She can do it without everything, she only have talent and insistence.

What difference between our and foreign show business?

Many of people worried about question, why in foreign countries to become known for the whole world to make deafening success in the world of show of business easier, including me. Because our republic young. We republic in which film-industry and show business is developed not so well as other countries. I think we are only on the way. Every day, including the TV, we hear, that such that the known actress, the singer or model goes from villages, with several dollars in a pocket to submit Hollywood. Also that it most interesting they can do it. But I hope, that in the near future our show business, the film-industry and everything, that will be connected with it even better than others countries.

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Debate about traditonal music!

    Traditional  Musicians who haven’t any musical education and learned from ancestors through traditional way asserted that during the time of USSR kazakh traditional “kui” music lost its roots, because almost all traditional music transfered to classical european notation. In this system It is impossible to learn the whole traditional composition with its special characteristics and emotions, different speed and technique which are not written on notations. Musical notation is like bones without meat. Today the notation system are taught in almost all musical schools and institutes. But some musicologists as A. Raimbergenov offer orally based approach teaching of traditional music in schools. More about it on www.akdn.org/Music/Musicin.htm#kazakhstan.

    Another theme of discussion is peforming traditional music with modern arrangement. Defenders of traditional music think that with arrangement we are losing our tradition. But new generation of musicians supposed that with this modern arrangement traditional music obtain new look and it will be popular among youth.

   Moreover, on site www.artsoffive.wordpress.com/ Natalie started another actual problem of our music industry as peforming with phonogram. Today some traditional music peformers also use a phonogram. In my opinion, the problem exist because of lack of professional qualitative musical equipments to peform alive , our audience don’t required live sound from musicians and musicians themselves used to peform with phonogram.

    In conclusion, I want to say that despite of some debate situations in music our traditional music is developing and I believe to its bright future.!!!!!!!!!!!!!!1

Types of traditional music in KZ

          Tradition is peculiarity of each nation, of each culture. They have own type of traditional music, traditional instruments. And what is the traditional music of Kazakhstan??

       There are several types of kazakh traditional music.  When we say about kazakh tradional song , then “Aitys” is very popular type of music. In other words it is peformance competition of two musicians who are called “akyn” . They improvised, created words immediately against each other and sing about social , political problems. According to site www.answers.com/topic/music-of-kazakhstan usually they accomponied music with traditional string instruments “Dombyra” or “kobyz”

    Another type of song is called “terme”. “Termeshi” is the person who sing terme about morality of people, problems between rich and poor, good and bad people, they teach to be morally good.

    The art of kui is like a big branch of national art. It is musical composition peformed in traditional instruments as dombyra, kobyz, sibizgi, shankobiz, zhetigen etc.  In kui we can hear soul of the nation, sounds of nature and animals, braveness of men and beauty of girls.

    In conclusion, one of the important spiritual treasures of kazakhstan which was entrusted from generation to generation is musical heritage. As one musicologist said,  kui peformed with great excitement, songs as terme and aitys with emotion and mysterious and lively melodies. Kuis, songs and melodies which make kazakh heart speaks and show their soul, sadness and joy, their dream and hope are like the monument presenting great image of nation’s inspiration.

   

History of Traditional “kui”music in Kazakhstan!

     According to the book “kuy kainari” (A. Raimbergenov 1990)  The history of traditional music of kazakhs closely interconnected with great musician Korkyt. It is proved by historical materials found in South part of Kazakhstan. But it is difficult to say the exact time when the traditional music was appeared in our country. Because, all the musical heritage of kazakhs was not written(note), it came to our days through hearing from generation to generation. Many of “kuys”(traditional musical composition) were forgotten and lost.I think, if our musician ancestors put their compositions into notes , we would have more musical heritage.

     The development of traditional kuys was in 19th century in the time of famous musicians and talented “kuishi” as Kurmangazi, Mahambet, Tattimbet, Kazangap, Dina, Sugir etc. They continued traditional way to new generation and created their own compositions which became classical music of kazakhs. I suppose, 80-90% of compositions what came to our days created by these musicians.

    In site  www.wikipedia.org/wiki/music_of_kazakhstan written about traditional music during USSR time and its reseachers and change. Yes, In the time of USSR most of kazakh musical heritage was explored by reseachers as Zataevich, Zhubanov, Aravin, Erzakovich, Mergaliev etc. They explored music from villages and put, write music into books with notes. Thanks to these reseachers traditional music in Kazakhstan is alive and developing. Today what we learn,play and hear from traditional music are works of these reseachers.