• KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
  • KGS/USD = 0.01144 -0.87%
  • KZT/USD = 0.00188 0%
  • TJS/USD = 0.09146 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 -0.14%
13 January 2025

Viewing results 1 - 6 of 9

The First-Ever Audio Recording of Kazakh Music

It was long believed that the world's first audio recording of Kazakh music was made in 1925 during the performance of singer, Amre Kashaubaev, at the Exposition Internationale des Arts Decoratifs et Industriels Modernes in France. However, the Berlin Museum of Visual Anthropology and Ethnology has recordings of Kazakh folk music, voices, and ritual chants, which were made in western Kazakhstan twenty years earlier. These recordings were made during the Acoustic Era, when sound waves were still recorded through analog methods. In 1857, Frenchman, Édouard-Léon Scott de Martinville invented the so-called phonautograph. Three years later, the world's first song was recorded. It was a French folk song, “By the Light of the Moon”. In 1877, Thomas Edison invented the phonograph. This invention could both record and playback audio and marked the start of the Acoustic Era. Later, in 1900, Carl Stumpf, a professor of psychology at the University of Berlin, established a phonogram archive in Berlin, where, at the same time, an orchestra from Thailand was touring. Stumpf recorded the Thai music, which was considered exotic to Europeans at that time. This recording became the first in the rich Ethnomusicology collection of the Ethnological Museum of Berlin. These recordings were originally discovered at the Institute of Russian Literature, also known as Pushkin House, which is part of the network that is affiliated with the Russian Academy of Sciences. Dr. Efim Rezvan, a well-known scholar of Turkology, showed the TCA team the wax rollers - cylindrical wax containers that can be played using Edison's phonograph. The first-ever audio recordings of Kazakh music were made using these devices. The German scientist Richard Karutz recorded them in the early 20th century when he organized an expedition to the steppes of Turkestan. As a result of his expedition, he wrote a book called Among the Kirghiz and Turkmens in Mangyshlak. During his expedition, Karutz took many photos and collected audio recordings of the local peoples' art. In addition to his scientific research, Karutz pursued other goals; for instance, he wrote about the health benefits of tea, which the locals consumed in large quantities. He claimed that drinking tea in large quantities when the air temperature was over 40 degrees Celsius helped them to bear the heat. Karutz wrote that, “It is necessary for our troops to weigh the importance of tea consumption during summer maneuvers and campaigns.” Richard Karutz was born into a mercantile family. In 1886, he went to study medicine at the University of Jena 1891. Completing his studies and receiving his doctorate in 1891, he then worked as a doctor aboard a ship. Whilst on working as a surgeon on a ship, Karutz traveled to South America and West Africa. After these trips, Karutz became interested in ethnography. In 1896, he was appointed head of the ethnographic collection of the Museum of Ethnology in Lübeck. Karutz enriched the museum's collection with artifacts from his travels, and encouraged other merchants and travelers to bring items from other countries for the collection. The...

Rejuvenating Kyrgyzstan’s Traditional Performing Arts: Razia Syrdybaeva on the Ustatshakirt Ensemble

On August 13, Kyrgyzstan’s Ustatshakirt Ensemble, a five-piece group of traditional musicians, gave its first ever performance at Edinburgh’s International Festival. Following a mesmerizing, sell- out concert, Kyrgyz author Shahsanem Murray spoke on behalf of TCA, to musicologist Razia Syrdybaeva about Ustatshakirt , its origins, aims and future plans. [caption id="attachment_23314" align="aligncenter" width="1665"] Photo: TCA Razia Syrdybaeva and the Ustatshakirt Ensemble[/caption]   TCA:  Razia, please tell us a little about yourself and the Ustatshakirt Ensemble. I am a musicologist, producer, and researcher of Kyrgyz culture, and hold a PhD in Philology. Twenty years ago, I established Ustatshakirt; an NGO educational organization with a mission to preserve Kyrgyzstan’s centuries-old musical heritage. The name Ustatshakrit - Ustat meaning master, and shakirt, student - embodies our aim to serve as a bridge between old masters and young musicians. Founded in 2003, with support from the Aga Khan Music Programme (AKA) the Ustatshakrit Center now has branches offering tuition in music, literature, and theatre to pupils in 41 primary & secondary schools across Kyrgyzstan. Over the past twenty years, through the development of faster and more effective methodology, we have taught over 10,000 children to play traditional Kyrgyz instruments such as the komuz and temir ooz komuz. We also provide tuition in other performing art forms including basic theater skills in our ‘dramalab’, and singing epics. The key goal of our work is to introduce children to their native music and help them appreciate and fall in love with their ancient culture. This is very important, especially in the present climate where exposed to external influences and technology, young people are increasingly moving away from their roots, their native language, and music. Attracted by modern rhythms and gadgets, they have little time and few opportunities to listen to their ancestral music. To more effectively engage both our pupils and audiences, we are constantly implementing the development of special methodological textbooks, music notation programs, etc. Authored by our teachers, musicians and prominent figures in the Arts, our now comprehensive collection of publications is used by Kyrgyzstan’s music educational institutions, from children's art schools to universities and conservatories. TCA: Concerts of traditional Kyrgyz music accompanied by excerpts from the great Manas epic are rarely performed in the UK, and especially, Scotland. What challenges did you face in securing a venue at the Edinburgh Festival? We heard about the festival several years ago. Getting to Edinburgh involved a lot of planning and expense and was only made possible thanks to the generous support of the Aga Khan Trust for Culture, the Aga Khan Music Program and its director Fairouz Nishanova, and our sponsors Sir Ewan & Lady Brown together with Flure Gossart. Work on repertoires for international audiences has now been ongoing for two years, and over many months prior to playing at Edinburgh, we focused on creating a program that would embrace the rich traditions of Kyrgyzstan’s music and culture. TCA: What were your impressions of the Edinburgh audience? We were all delighted by the high...

Kazakh Musicians Turn to Old Instruments to Make New Music

The dombra, the kyu, the kobyz, the zhetigen…. The list of traditional instruments in Kazakh music goes on. These aren’t dust-coated relics. The instruments are increasingly at the forefront of a lot of popular music in Kazakhstan today. They even get makeovers. The dombra is a long-necked, stringed instrument symbolizing Turkic culture. Now there is the electric dombra. Merey Otan, also known as Mercury Cachalot, knows about all of this. She is a musician and graduate student at Nazarbayev University in Astana and co-author of a book about the transformation of traditional instruments in Kazakhstan. In written responses to questions from The Times of Central Asia, Otan talked about contemporary Kazakh music and the role of the old instruments. After some replies, TCA includes brief explanations of her musical references. Researcher Merey Otan speaks last year at a launch for a book she co-authored about traditional instruments and contemporary music in Kazakhstan. Otan is a postgraduate student in the Eurasian Studies program at Nazarbayev University in Astana. Photo: Merey Otan   Merey, tell us how you first encountered Kazakh music and what attracted you to Kazakh instruments?   I have always been surrounded by Kazakh music. As long as I can remember we used to sing Kazakh folk songs at family gatherings, and various celebrations. My sister used to play dombra, a Kazakh traditional plucked two-stringed instrument, and when I started going to school I also started learning to play it. Unfortunately, I stopped taking lessons after a couple of years but I still remember how to play some compositions, kuys, and play it once in a while.   TCA: Kuys is a traditional instrumental piece of Kazakh, Nogai, Tatar and Kyrgyz musical cultures. It is performed on various folk instruments.   Which Kazakh instruments are considered the most popular among contemporary musicians, and why do they attract attention?   Dombra is probably the most popular traditional instrument among local musicians, including contemporary ones. It also has a sacred meaning for the people in terms of national identity. This is evident in the quote of a famous Kazakh poet Kadyr Myrza Ali "A true Kazakh is not a Kazakh but a dombra." This shows that Kazakh people associate their identity with the instrument and incorporating its sound in contemporary songs allows them to situate their music in the local context. Apart from that, musicians also use instuments like qobyz, shanqobyz, zhetigen. Authenticity was always important for musicians and including traditional instruments is one of the popular strategies to demonstrate authenticity for Kazakhstan's musicians. Among the most popular examples are songs by Yerbolat Kudaibergen, Irina Kairatovna, Aldaspan, The Buhars. A dombra and a kobyz, traditional instruments used in Kazakhstan, are shown in a book that was co-authored by researcher Merey Otan. Photo: TCA   TCA: The kobyz is an ancient bowed instrument preserved among the peoples of Siberia, Central Asia, the Volga region, Transcaucasia and other regions.  The shankobyz is an ancient Kazakh reed musical instrument, formerly used by shaman-worshipers to...