ИННОВАЦИОННЫЕ МЕТОДЫ В ИЗУЧЕНИИ КАЗАХСКОГО ДОМБРОВОГО ИСКУССТВА

Abstract

The article characterizes the works of foreign and domestic scientists in the field of musicology, which are devoted to the traditions of improvisation; in particular, dombra art, analyzes the current issues of scientific research, and reveals the novelty of analysis methods and main conclusions. The purpose of the study is to solve theoretical issues of music, to present an innovative system through the concretization of methods and techniques used in the understanding the specifics of the works which are chosen as objects in the framework of the problems being developed. New methods included in the scientific works of the leading representatives of the art history on the issues of innovative musicology are presented. The received hypotheses have been confirmed, the collected materials have been systematized. The practice of studying the art of song, kuy, zhyr, which form the basis of Kazakh traditional music, in connection with monodic cultures, is reflected in the works of domestic researchers. So, A.I.Mukhambetova, emphasizing the issues that go back to the nature of the Kazakh kuy, analyzes the features of correlation of subsections (vocal, instrumental) in the structure of shashmaqom and kuy, fixes the commonality of rhythmic units, compares specific terms, L.Ya.Kopbayeva, noting the correspondence of the concept “maqam” of the modal and genre spheres, shows the dependence of the genre designation in kuy on the modal structure, R.T. Nesipbai, based on the works of scientists who studied the theoretical foundations of monody (Yu.plakhov, S.Galitskaya, T. Djani-Zade, T. Osina, L.Khaltaeva and others), studies the structure and composition of the kuy in the context of bourdon polyphony and oriental monody. Since the Kazakh musical art is based on the traditions of improvisation, the works of the same name from the of Kazakh kuys and issues of systematization in artistic culture were chosen as the basis for the study. It is emphasized that, having presented the systematization of internal factors in the study of maqom as the main genre of monodic culture, T.B.Gafurbekov, in fact, opens up new opportunities for solving complex problems that generate discussions, in particular, in determining the essence of the “genre”. The specificity of the "triple factor", which is reflected in his theoretical concept, led to a new formulation of the issues and systematization of categories, determined by the immanent nature of the Kazakh kuy art. In the process of classification (based on internal parameters), the specifics of improvisational art and the development line of the performing traditions in the creativity of the kuishi were taken into account. As a result, the significance of such characteristics of the Kazakh kuys as cyclicity, variations, situational and regional specifics was determined. The proposed system allows solving problems that relate to the categories of "genre" and "style" involved in the study of the Kazakh kuys.