Küü
The music of Kyrgyzstan is in many ways influenced by the geography of the region. The music has traditionally been directly linked to a nomadic way of life. The concept of Küü is central to Kyrgyz music, has a number of meanings, and relates to natural phenomena as well. It can refer to mood, mental state, temperament, as well as the inner energy of any phenomenon or being.[1] It is also the root word for ‘tuning’. This relates to the idea that different tunings affect human psyche and physiology. Küü is a central idea not only in Kyrgyz music, but in the culture as well.
Manaschi
Musicians deeply familiar with küü and its various manifestations are manaschis, the travelling musician shamans of Kyrgyzstan. Deeply connected to the land, people and music of the Kyrgyz, they were called zhomokchu in pre-Soviet times. The Manaschis are often ‘called’ to their path in dreams, by the spirit of Manas. Manas is the Kyrgyz heroic epic. It is the tale of a warrior named Manas, and his descendants. The Manas epic is up to 30 times longer than Homer’s Odyssey, with variants ranging from 250,000 - 500,000 lines of verse.
Akyn
Akyn are the traditional philosophic singer-songwriter poets of the Kyrgyz. There is a group of song types that are the domain of the akyn. These include, arnoo, for the singer’s patron; kordoo, defaming the musician’s enemies; and kuttuktoo, congratulatory songs[2]. The artistry of the akyn reaches its peak in traditional singing contests, called aitish. Akyn frequently employ the art of kaila, the improvisation of song texts using melodic motifs. This is considered a ‘high art’ in Kyrgyz culture and is greatly respected[3]. Musicians frequently improvise song texts, often throughout the day[4].
Genres
Other traditional musical genres among the Kyrgyz include zhomok, which includes epic and all other narrative genres (zhoo zhomok, fairytale; tamsil, fable; tabishmak, riddle); ir, a song in the sense of a poetic form (functions as a concept); and obon, the term for a tune, meaning any type of melodic repertoire, including short phrases. Akyn use 15 to 20 obon in their overall performance repertoire, but often apply the same obon to different song texts (a strophic approach).[5] Other genres of song used by the akyn include the dambir tash, an incantation to the spirits of agriculture; shirildang, a cowboy song; bekbekei, a shepherdess’s song; op maida, a ploughing and harvesting song; zharamazan, a song that is sung during Ramadan; zhar-zhar, a wedding song; and koshok, a song genre heard both as a funeral lament and as a wedding song.
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Vocal Recitation
There are four main types of vocal recitation: the first is emotionally excited, exalted speech; the second is characterized as “the musical tirade,” which consists of a large number of musical-poetic lines joined by one rhyme with shouts in-between, often used in zhomok; the third is reminiscent of the Kyrgyz genre of lament, koshok; and the fourth is a style of phrasing consisting of 4 + 3 or 5 + 3 syllables that forms the central structure of the Manas epic.[6]
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Styles by Region
There are three primary musical styles in Kyrgyz traditional music. The Northern style (the Issyk-Kul and Naryn regions and the Chuy valley) is similar to the musical style of the Kazakhs. The Northwestern style (the Talas and Chatkal valleys and a part of the Fergana valley) is more closely linked to the region’s indigenous musical culture than the Northern style. Third, Southern style (the Osh region) is similar to the Uzbek styles. It is a recitative-type of style characterized by emotionally excited, exalted speech, rather than singing.
Nomadic Sensibilities
It is important to have a general sense of Kyrgyz nomadic sensibilities when assessing the music of Kyrgyzstan. The landscape of mountains, lakes and grasslands are key catalysts in the musical expression of the region. Wind, water and the omnipresence of nature are a continual source of inspiration that transfer into the musical process.[7]. Animals, as well, play a part in the music. For example, the ker-tolgoo rhythm imitates the sound of a horse’s canter. It is used frequently, in a variety of different küü.
Komuz
The komuz is the guitar-like instrument of the Kyrgyz. Komuz players could be viewed as essentially the “rock guitarists” or “rock stars” of traditional Kyrgyz music. For the Kyrgyz, the komuz is often used as a vehicle for the highest possible musical showmanship.[8] Komuz playing involves a broad range of elaborate, precise, right hand strumming techniques, as well as left hand coordination. There are around 8 tunings commonly used for the open strings of the komuz.[9]
Competition-oriented repertoire includes mash botoi, a simple tune that is played repeatedly, each time with a different stroke with the right hand. This is a vehicle to test the skill of a performer.[10] Notable Kyrgyz musicians and ensembles include Azamat Sydykov, Abdylas Maldybaev, Rysbek Jumabayev, Toktogul Satylganov and the Tengir-Too Ensemble. While there are not many albums of Kyrgyz music available, the ones that are available are generally very good and tend to demonstrate the authentic traditions well.
Competition-oriented repertoire includes mash botoi, a simple tune that is played repeatedly, each time with a different stroke with the right hand. This is a vehicle to test the skill of a performer.[10] Notable Kyrgyz musicians and ensembles include Azamat Sydykov, Abdylas Maldybaev, Rysbek Jumabayev, Toktogul Satylganov and the Tengir-Too Ensemble. While there are not many albums of Kyrgyz music available, the ones that are available are generally very good and tend to demonstrate the authentic traditions well.
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[1] Saodat Ismailova & Carlos Casas. Music of Central Asia Vol. 1: Tengir – Too: Mountain Music from Kyrgyzstan, DVD. Washington, DC: Smithsonian Folkways, 2006.
[2] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[3] Ibid.
[4] Ibid.
[5] Ibid.
[6] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[7] Ted Levin. Tengir Too: Mountain Music from Kyrgyzstan. Smithsonian Folkways Recordings SFW40520, CD, 2005.
[8] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[9] Ibid.
[10] Ibid.
[2] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[3] Ibid.
[4] Ibid.
[5] Ibid.
[6] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[7] Ted Levin. Tengir Too: Mountain Music from Kyrgyzstan. Smithsonian Folkways Recordings SFW40520, CD, 2005.
[8] Mark Slobin, et al. "Kyrgyzstan." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41868 (accessed June 15, 2012).
[9] Ibid.
[10] Ibid.
Tengir–Too: Mountain Music of Kyrgyzstan documentary:
Webpage by Jacob Kessel, 2012