REGIONAL AND STYLISTIC FEATURES OF THE TECHNIQUE OF PERFORMING KAZAKH TRADITIONAL SONGS

Abstract

Abstract. Bringing up a singer with the necessary fundamentals of artistic skill and methods for further improvement of musical cognition and who combines the ability to develop free thinking with his creative vision is an essential task in modern conditions. The use of the acquired knowledge about a traditional song's musical and artistic qualities when preparing for concert performance activities to reveal the singer as a creative personality is a trend dating back to ancient times. The accuracy of pop interpretations of traditional Kazakh songs causes much controversy and often needs to meet the requirements of artistry. The propaganda of the performing style of national color in the dissemination of ancestral culture and the upbringing of musicians is especially relevant. We know that during his sixteen-year collecting activity, Alexander Viktorovich Zataevich recorded more than twenty-three thousand Kazakh songs, revealing differences in the local specifics of the song performance. It has become clear that although Alexander Viktorovich Zataevich proposed the first classification of songs on a regional basis, the collector's work is only a drop in the bucket of folk song heritage. The Kazakh traditional song is characterized by its regional stylistic and performance features. Therefore, it is necessary to conduct a scientific analysis describing the artistic, linguistic, and performing techniques in each region of the Kazakh steppe. The regional features of the traditional song were first evaluated by the outstanding poet Ilyas Zhansugurov in the article "About songs and singers". This article's primary purpose is to analyze the traditional ideas about the ideal song and performance, form a holistic concept about the basics of the singer's professional skills, and revive a system of views about the national sound ideal through performance practice. The article describes a set of "national ideas" about a song, ways, and methods of sound production and provides for discussing the performing techniques of the local singing schools. Methods of empirical description, hermeneutical analysis, and comparative methods were used as research methods. Based on historical-typological, theoretical studies in musicology, initiated by Ahmet Zhubanov, Akseleu Seidimbek, Amina Nugmanova, Zhanibek Karmenov, for the first time, the performing differences of regional schools existing in the traditional Kazakh song are revealed. As a result, the author, being a singer herself, describes the unique performing techniques of the Kazakh traditional song art, which convinces the diversity of the regional schools of the Kazakh song tradition. Theoretical provisions and research results may have practical significance as an addition to the content of the disciplines "History of Kazakh music" and "History of performing arts".