The musical creativity of Tattimbet and Toka in their kuis “Saryzhailau” and “Bozaigyr”: the experience of comparative-typological analysis

Abstract

The author examines the famous works by Tattimbet Kazangapuly (1815–1860), who is the founder of Arka Shertpe dombra school in Central Kazakhstan as well as Toka Shongmanuly (1830–1914) the developer of his own performance tradition within the abovementioned School, being focused on a comparative analysis of the two kuis “Saryzhailau” glorifying the Nature and the kui “Bozaigyr” chanting animals. The composers’ creative contributions are outlined in the first section and the comparative study are presented in the second part of the work. The researcher has fulfilled a musical-stylistic analysis that was indicated in the methodological part (S. Utegalieva) having covered such aspects as modal-intonational and thematic, compositional and metric-rhythmic features as well. The historical-comparative, and typological, and systemic-ethnophonic approaches were applied (I. Matsievsky) along with the similarities and distinctive features in the pieces of Tattimbet and Toka, who were able to demonstrate the influence of their styles. The highlighted materials were drawn from the instrumental collection “Saryarqa Sounds” by Bilal Iskakov. Moreover, the author had examined the works of Kazakhstani and international ethnomusicologists and dombra masterpieces composed under the Kazakh ethnic musical traditions. Indicating their compositional layout, rhythmic flow, metrical organization and modal–intonational coloring it is possible to affirm that the compositions “Saryzhailau” and “Bozaighyr” are not similar completely and differ substantially. At the same time the strong Tattimbet’s artistic manner shaped Toka’s style and such comparative analyses is important for understanding both the shared foundations and the subtle distinctions within Kazakh dombra music.

Keywords

• Shertpe style
• Arka school traditions
• dombra
• kui
• kuishi

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