Musical and Style Features of Togilmely Kuy by M. Mangytaev

Download article Kazakh

Authors

Araylym Kisyarova

Corresponding author

Master of Arts, Artist and Soloist

Atyrau Regional Philharmonic named after N. Zhanturin

Kazakhstan

Aizhan Berdibai

Doctor PhD, Associate Professor, Musicology and Composition Department

Kurmangazy Kazakh National Conservatory

Kazakhstan

Abstract

The article is devoted to the musical and stylistic analysis of the kui by M. Mangytaev “Togilmeli” for the folklore and ethnographic orchestra “Otyrar Sazy”. Kui was composed in 1987. A synthesis of forms is found in the musical composition “Togilmeli”. On the one hand, this is a variant-strophic form, characteristic of the Shertpe style kuis. On the other hand, there is a three-part structure, which is typical for works of European music. The first and third sections of the orchestral kui are based on a three-element theme, one of which forms the basis of the musical development in the middle section. 

Among the methods of musical development of musical material, the author uses imitations, sequences, and variant deployment of motives. According to its name, which can be translated as “pouring”, the entire kui is built based on the repetition of a rhythmic figure: a triplet and two eighth notes. A similar rhythmic pattern, as is known, is often used in the style of dombra kui - tokpe. The use of fifth harmonies in the parts of the accompanying instruments indicates the proximity of “Togilmeli” to the ancient kuis for kobyz and dombra. Chromatization of steps in the developing and final sections, chords of side keys, melodic jumps at wide intervals and polyphonic texture indicate the implementation of the principles of European academic music in M. Mangytaev’s kui.

Keywords

kui
variant-strophic form
shertpe and tokpe styles
sequences, imitations