Ethnographic tours of Kazakhstan -
The yurt is the national dwelling of the Kazakhs -
Until the beginning of the 20th century, Kazakh music existed exclusively in the form of folk art – these were songs and instrumental kuis passed down from generation to generation. On a recitative musical basis, the zhyrshi (storytellers) performed epic poems and legends, the akyn (improvisational poets) competed in verbal skills, and the yertekshi (storytellers) revived folk tales and fables. Aitys occupied a special place in musical life – poetic competitions that gathered many spectators and participants.
Kazakh folk music was based on seven-step diatonic frets (both major and minor) with a noticeable pentatonic influence, which gave it a special flavor. She was distinguished by unique intonations, developed forms and complex rhythmic structures. Among the traditional instruments, the plucked two-stringed dombra, the bowed kobyz, the wind sybyzgy (resembling a longitudinal flute) and the percussive dauylpaz stood out. At the end of the 19th century, the syrnai, a one– and two-voice harmonica of the Kasimov and Tatar types, entered musical practice.
A special role in the development of Kazakh music was played by the work of folk composers, singers and instrumentalists of the mid-19th and early 20th centuries, whose worldview was shaped by the influence of advanced Russian culture. Among them are the founder of written Kazakh poetry and composer Abai Kunanbayev, as well as Birzhan Kozhagulov, Jayau—Musa Bayzhanov, Dauletkerei Shigaev, Kurmangazy Sagyrbayev, Ikhlas Dukenov, Mukhit Meraliev, Baluan-Sholak Baymurzin, Akhan-Sere Koramsin, Tattimbet Kazangapov, Tlepbergenov, Sarmalai and many others.
With the establishment of Soviet power, the musical life of Kazakhstan became more active: amateur theater and music clubs, choral groups appeared, and systematic work began on recording and studying folklore. The collections of folk songs compiled by A. V. Zataevich were of great importance. Traditional competitions of singers, akyns and musicians were supported, the forms of performance expanded, choral singing and ensemble playing appeared.
In 1934, the first republican gathering of folk artists was held, after which the KazTSIk Orchestra of Kazakh Folk Instruments (since 1944 – named after Kurmangazy) was organized. In 1935, the Dzhambul Philharmonic was opened, which included a Kazakh choir, an orchestra of folk instruments, a dance ensemble and a group of folk singers.
In 1933, a music studio was founded in Alma Ata, which was transformed into the Kazakh Musical Theater in 1934 (since 1936 – the United Theater of Kazakh and Russian Opera, since 1937 – the Kazakh Opera and Ballet Theater). Outstanding singers participated in the first productions: Kulyash Bayseitova, Kanabek Bayseitov, Kurmanbek Dzhandarbekov, Manarbek Yerzhanov and others.
The year 1934 was marked by the staging of the first Kazakh opera "Kyz-Zhibek" by E. G. Brusilovsky, based on the folk epic of the same name. It was followed by his operas "Zhalbyr" (1935) and "Er-Targyn" (1937). In the 1930s and 40s, Kazakh mass song, romance, chamber instrumental, symphonic and choral music actively developed.
New groups were created under the radio committee: a symphony orchestra, an ensemble of Russian folk instruments, a Kazakh choir of Soviet and folk songs. In 1939, the Union of Composers of Kazakhstan was formed. During the Great Patriotic War, the opera "Guardia, alga!" by Brusilovsky appeared, dedicated to the feat of the Soviet people.
Important milestones were the opera "Abai" by A. Zhubanov and L. Khamidi (1944), which used melodies by Abai Kunanbayev, and the Third Symphony "Sary Arka" by Brusilovsky (1944). In 1944, the first conservatory in Kazakhstan was opened in Alma Ata (since 1963, the Kurmangazy Institute of Arts), and in 1945, the art history sector was organized at the Academy of Sciences of Kazakhstan.
The post-war years were marked by the flourishing of Kazakh music: composers began to interpret folk melos more freely, going beyond simple citation. Among the operas, works on modern themes prevailed: "Amangeldy" by Brusilovsky and M. Tulebaev (1945), "Tulegen Tokhtarov" by Zhubanov and Khamidi (1947).
Of particular importance was Tulebaev's opera Birzhan and Sarah (1946), dedicated to the life of the folk composer Birzhan Kozhagulov. In 1953, the opera Dudarai by Brusilovsky was staged, where mass folk scenes became the basis of drama. The first Uyghur opera was K. Kuzhamyarov's "Nazugum" (1956).
The operas "Altyn Taular" by Kuzhamyarov and N. Tlendiev (1960), "Aisulu" by S. Mukhamedzhanov (1964), the first Kazakh comic opera, "Kamar–Sulu" by E. Rakhmadiev (1963) and "Zhumbak kyz" by Mukhamedzhanov (1971) were devoted to modern themes. To mark the 50th anniversary of the October Revolution, the opera Steppe Glow (1967) was written about the struggle for Soviet power in Semirechye.
Dozens of works have been created in symphonic music: "Kazakh Symphony" by V. Velikanov (1947), poems "Kazakhstan" by Tulebayev (1951) and "Jailauda" by K. Musin (1948), the first Uyghur symphonic poem "Rizvangul" by Kuzhamyarov (1950), as well as numerous symphonies by Brusilovsky, Mukhamedzhanov and G. Zhubanova.
The Kurmangazy Orchestra performed original compositions written specifically for folk instruments. Cantata and oratorio genres have been widely developed: from Brusilovsky's "Soviet Kazakhstan" to Rakhmadiev's "Ode to the Party" (1970). Choral suites, songs, and romances were popular.
Russian composers, conductors and teachers played a major role in the development of Kazakh music. Among the outstanding performers are singers Roza Baglanova, Ermek Serkebayev, Bibigul Tulegenova, dombrists Kali Zhantleuov, Ramazan Omarov, conductors Shamgon Kazgaliyev, Fuat Mansurov and many others.
The achievements of Kazakh music were presented at the decades in Moscow (1936, 1958), cultural weeks in Tatarstan (1962), Armenia (1968), Uzbekistan (1960, 1971). By 1972, the Kazakh Choral Chapel, the Kurmangazy Orchestra, the Song and Dance Ensemble, the Symphony and Chamber Orchestras, the Gulder variety Ensemble, as well as many educational institutions were operating in the republic.
The Union of Composers of Kazakhstan, founded in 1939, had 40 members by 1972. Their work became a bridge between folk tradition and professional art, opening a new era in the musical culture of Kazakhstan.
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