TRANSFORMATIONS OF NATIONAL STYLE IN KAZAKHSTANI MUSIC : FROM TRADITIONS TO MODERNITY

Abstract

Problem Statement and Relevance of the Study. The Kazakh people have, over centuries, built a unique treasury of cultural and artistic achievements that reflect their spirituality, historical memory, language, and folk art. Kazakhstan's geographical location has positioned it as a bridge between East and West, influencing the specific characteristics of its cultural life. Exposure to the musical traditions of other peoples has expanded interest in Kazakhstan’s cultural heritage. For contemporary artists, the nation’s unique spiritual and cultural heritage serves as the foundation for creative exploration. The younger generation of composers individually chooses their approaches to engaging with tradition. At the turn of the 20 th–21 st centuries, amid complex socio-economic changes, Kazakh culture experienced a particular national revival. During this period, the country's culture was vividly represented through folk art, performance traditions, a school of composition, and a well-developed theatrical, concert, and educational infrastructure [7].
At the Turn of the 20 th–21 st Centuries, Musical Art and Performance in Kazakhstan Were Significantly Influenced by Western Culture. Our research focuses on identifying the specifics of the national style and genre system of Kazakhstani music. The need to study this topic arises from the necessity to fill a scholarly gap through an art-historical analysis of samples of musical creativity by Kazakhstani artistic groups and performers.
The Research Methodology relies on a synthesis of scientific methods: source studies, cultural studies, art history, analytical, and aesthetic approaches. This approach provides a comprehensive overview of the research subject and allows for the systematization of knowledge.
Musicological Works dedicated to the art of Kazakhstan developed in two stages: the first stage (up to the 1950 s) focused on documenting certain events in the formation of the national music school, while the second stage (from the 1950 s to the present) emphasized an understanding of national specificity in performance and creativity. The works of Kazakhstani musicologists and composers, highlighting the historical development of professional music culture, played a significant role in shaping this concept.
The Depths of Kazakh Music’s Philosophical Worldview were explored in monographs by S. Sh. Ayazbekov [1] and researchers Zhumabekov [17]. Art historians Bukunyova D. M. [2] and Dzhumakova U. [3] studied the characteristics of Kazakh musical culture in the 20 th century in the context of amateur and professional art. The specifics of the national style and contemporary concepts in the symphonic genre of Kazakh music in the 20 th–21 st centuries attracted the attention of researchers Kdyrova I. O. and Myroshnychenko O. M. [7]. Polystylistic Trends in academic music in the works of Kazakhstani composers