Dombra is a unique and sonorous history of nomadic tribes. Its strings hold the musical wisdom of centuries
Oh, dombra, why is your song sad?
Your chest is full of forgotten legends.
I can only touch the elastic strings with my hand,
The age-old pain will sound, old man.
Kasym Amanjolov
Folk musical instruments are a wonderful source for studying the culture of the Kazakhs. The most favorite instrument of the people was the dombra. The history of dombra music is closely intertwined with the history of nomads. Dombra kuis generalized their life experience, carried knowledge about nature, man, and passed from one generation to another.
The more than four thousand-year history of the dombra tells us that it is one of the first plucked musical instruments - the predecessor of modern musical instruments of this type.
Saka tribes
On the territory of Kazakhstan in the 7th-4th centuries. BC e. Saka tribes lived, leaving behind a rich spiritual heritage, especially in the field of applied arts, oral and musical creativity. Many Kazakh musical instruments go back to the Sakas. During the time of the Sakas, sybyzgy and dombra were especially widespread. Among the ancient dombra kuys that have survived to our times and are still popular among the people, we can name “Shanyrau”, “Akku” and others. Current Kazakh lullabies, their melody and rhythm, originate from those times. As proven by scientific researchers, the Kazakh bowed instrument - kobyz - was also used by the Saki.
Huns
In the III-II centuries. BC e. The Huns created one of the most powerful states in the world. They were not only excellent warriors, but among them there were also talented poets, musicians, zhirshis and kuishes who played the sybyzgy, dombra, and kobyz. The kuis of the Huns have survived to this day: “Kenes”, “Sary Ozen”, “Shubar at”. By the way, the kuy "Sary Ozen" of the great kyushi, sybyzgyshy - Saimak, who worked in the 2nd-1st centuries. BC, Kazakhs still perform. Translated, "Sary Ozen" means "yellow river" or in Chinese - "Huang He". The Huns fought with the Chinese for land near this river. These musical works and musical instruments are clear evidence that the Kazakhs are descendants of the Huns.
Kimak Khaganate
In IX-VI centuries BC e. Kimak tribes lived on the banks of the Irtysh. According to historical information, the Kimak people had twelve tribes, among which lived the Kypchaks, representatives of the Kazakhs. They developed a written language and their own religion, “Manichaeans.” A native of the Kimaks is the famous scientist Zhanakh ibn Kagan al-Kimaki. In the 11th century, the Kimak Khaganate collapsed. However, the Kazakhs still have the Kipchak tribe (Central and Northern Kazakhstan).
The dombra was also a musical instrument among the Kimaks. Their favorite tunes have reached us: “Ertis tolkyndary” (Waves of the Irtysh), “Munly kyz” (The Sadness of a Girl), “Tepen kok” (Lynx), “Aksak kaz” (Lame Goose), “Bozingen” (Light Camel) ), “Zhelmaya” (One-humped camel), “Kulannyn tarpuy” (Kulan’s Stomp), “Kokeikesti” (Experience), etc.
It is worth noting that musical instruments served various aspects of nomadic life: the magical rituals of shamans, everyday life, military practice, games of children and youth, amateur music-making, and the activities of professional musicians. Dombra became widespread throughout Eurasia due to the perfection of its design.
Due to its widespread distribution, dombra has many regional varieties. The dombra of Western Kazakhstan has a long neck, a two-octave range comparable to the complex shape of Western Kazakhstan kuys. The techniques of playing it reflect the dynamic style of the kuis of this region. The East Kazakhstan dombra has a short neck, its range is 1.5 octaves, which is associated with the song style of the kyuis of East Kazakhstan. A three-string dombra is also found here.
The technique of playing and sound production on the dombra is extremely diverse, which allows musicians to implement any combinations on it. Cuis for dombra are the pinnacle of the musical development of Kazakh music. Through the creative efforts of many generations of dombra-kuyshi players, including geniuses, whose music has survived them for centuries, thousands of kyuis have been created, which reflect the spiritual world of the Kazakhs to the fullest extent.
The famous Kazakh composer Akhmet Zhubanov suggested that the word “dombra” was formed from a combination of the Arabic words “dunbakh” and “burra”, which means “lamb tail”. Indeed, the body of the dombra is cone-shaped and ends like a lamb’s tail. And the researcher of Kazakh music Alexander Zataevich wrote that he often clearly heard a “third voice” in the sound of a two-string dombra.
Dombra is a mandatory instrument for traditional professional singers - performers of epic songs - zhyrau, masters of song and poetry competitions - akyns, performers of lyrical songs - sals and sere, the most common instrument of everyday amateur music-making.
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the site found out what this instrument means to the Kazakh people and what its history is. And also what connects President Nursultan Nazarbayev with the national instrument. Photos and videos with the participation of the Head of State were provided by the Akorda press service.
How did dombra appear?
The Kazakh dombra has many relatives, including the Russian domra, the Uzbek dombyra, and the Bashkir dombyra. It is impossible to say exactly how and when the Kazakh national instrument appeared. But researchers are sure of one thing: this is an object with a rich history. Archaeological finds indicate that the prototype of the dombra appeared more than 4,000 years ago.
Rock paintings found on the Maitobe plateau in 1989 are cited as evidence. The picture shows a musical instrument similar in shape to a dombra and dancing people. Archaeologist Kemal Akishev attributed the find to the Neolithic era.
Rock painting / Photo from abai.kz
The Saka tribes also played an instrument very similar to the dombra. During excavations in Khorezm, archaeologists found terracotta figurines of musicians with two strings in their hands. A description of this instrument was also found among the Cumans (the European name of the Kipchaks). The Hun tribes also loved dombra. Even their kuis have survived to this day: “Kenes”, “Sary Ozen”, “Shubar at”.
Abu Nasir al-Farabi in his writings described the tambour as follows: an instrument very similar to the dombra.
There are, of course, beautiful legends about the origin of the instrument. According to one of them, two giant brothers lived in Altai. The younger one loved to play his dombra. And as soon as he started playing, he forgot about everything in the world. The eldest was very vain. He wanted to become famous by building a bridge across the river. He began to collect stones and build a bridge. The older one works, the younger one plays. The day passed, the second, the third. The musician does not rush to help his brother. Then the elder got angry, grabbed the dombra and hit it against the rock. The music stopped, but the imprint remained on the stone. Many years later, people found this imprint, began to make new dombras in its likeness - the music began to sound again.
Another legend says that Genghis Khan’s beloved son Jochi died while hunting, the servants did not know how to inform their ruler about this, and brought the musician to him. He didn’t say a word, he just played “Aksak Kulan” on the dombra kui. The Khan understood everything and ordered the dombra to be executed. Since then, a hole has appeared on the instrument - a trace of molten lead.
Another interpretation of the previous story was not without a love component. Previously, the dombra had five strings and no hole. The horseman Kezhendyk masterfully wielded this instrument. And so he fell in love with the daughter of a local khan. Khan invited the horseman to his yurt and ordered him to prove his love for his daughter. Kezhendyk began to play. He played long and beautifully. And he sang not only about love. He sang songs about the khan himself, about his greed and greed. The Khan got angry and ordered lead to be poured onto the dombra. That's when a hole appeared and only two strings remained.
There is some truth in beautiful legends. This plucked instrument, like no other, can convey the sound of the Kazakh steppe, the wind moving feather grass, mountains reaching into the sky, clouds flying into the distance. Kuy can sing beautifully about the beautiful, and aitys can hit hard, reminding of the basest qualities, after which the heroes will definitely want to fill the instrument with lead. It’s not for nothing that brave akyns have been valued at all times. Music could say what people themselves were afraid to say. In the competition of aityskers, some even see the ancestors of modern rap battles.
For the Kazakh people, dombra has a special historical value. There is even a saying:
"Nagyz qazak - kazaq emes, nagyz qazak -dombyra!" ("Real Kazakh -This is not the Kazakh himself, the real Kazakh is the dombra!”.
In 2010, dombra was included in the Guinness Book of Records. In the regional center of Toly, Xinjiang Uyghur Autonomous Region of China, 10,450 people simultaneously performed the Kazakh kui “Kenes”.
The historical value of the dombra was also recognized by UNESCO. In 2014, the organization included the Kazakh kuy, dombra and yurt into its heritage list.
The path to the power tool
Nomads made dombra from what was at hand, and from almost any material: wood, reeds, leather, bones, animal horns, horse hair. Goat or sheep intestines were used for strings.
In a later period and today, dombra is made from strong oak and maple wood. Moreover, art historians distinguish two types of dombra: western and eastern. The Western one is a large dombra with an oval body, similar to a pear, and a thin neck. Experts note that this instrument has a special rumbling sound and is rich in tints with a low timbre. Eastern dombras, on the contrary, are very melodic. They have a wide, spade-shaped body and a short neck.
Creating a dombra is a special skill, an art that not everyone can master. How the dombra will sound depends on the smallest detail. The type of wood plays an important role.
In 2012, an electric dombra was created. The author of the invention is Nurzhan Toishy, founder of the unusual group Aldaspan. As Nurzhan says in numerous interviews, the idea to create such a dombra came to him back in the late 80s, but it was only possible to begin implementation in 2009. And in 2012, the first and only group in the world appeared that plays the electric dombra.
Dombra Day
Nursultan Nazarbayev appreciates the dombra and plays the instrument well. He is convinced - and taught his grandchildren this - that dombra is an integral part of history, the property of the Kazakh people.
Nursultan Nazarbayev with his grandchildren, 1992 / Photo from the Akorda press service
In January 2002, the President said in an interview with the Russian magazine Echo of the Planet:
“Dombra is a purely national instrument. To simply understand it, you need to be born a Kazakh... Its sound is completely unusual. It seems to speak about the wide steppes of Kazakhstan, about our mountains, about our ancestors, about our history...”
The newspaper "Kazak Adebieti" in 2006 also quoted the head of state:
“Kolym kalt etkende dombyraga kol sozyp, zhyr zhazatynym da sol bir armanshyl shaktan qalgan zhukana da ("The habit of picking up a dombra and writing songs has been formed since dreamy times")."
Nursultan Nazarbayev is not only a dreamer and sings about high feelings. At one of the events, the President played the dombra and sang about life and that respect is deserved by those who do, and not by those who talk a lot.
On June 13, the head of state signed a Decree according to which the first Sunday of July in Kazakhstan was established as National Dombra Day. On this day, throughout the country, thousands of dombra players will play the folk instrument.
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The study is devoted to creating a holistic picture of the Kalmyk folk instrument - dombra. In this work, based on the study of literature about Kalmyk musical instruments, the history of the emergence of the Kalmyk musical instrument - dombra is analyzed, the etymology of the name of the musical instrument is studied, and the content of the legends about its origin is revealed. The author, as a performer, provides a brief description of the structure of the dombra and the playing technique. An important role in the study is given to the significance of the Kalmyk folk instrument in the development of Kalmyk culture.
INTRODUCTION
The musical culture of Kalmykia has evolved over the centuries. Oral folk musical creativity of the Kalmyks can be divided into four groups: song creativity, fairy-tale epic, instrumental and song-instrumental creativity. The last two groups play a major role in the folk art of the republic - instrumental and song-instrumental creativity. For a long time, folk art was improved and developed, and along with it, musical instruments experienced their history. One of the most common and most beloved instruments by the people is the dombra, which has also not been spared by changes and adjustments of time. To get to know a country and the people who inhabit it, reading books that give an idea of history, nature, and life is not enough. Only art, with its bright and colorful language, is able to tell about the most intimate, original, which constitutes the essence of national character. In dance, as in song, the soul of the people is revealed. Through music, people express their emotions, their religion, because music is the power that makes you laugh or cry. By playing the dombra we communicate, we talk about our experiences and feelings.
Currently, the musical culture of Kalmykia is experiencing serious difficulties. Young people are not interested in the Kalmyk language, the history of Kalmykia, its customs, traditions and cultural monuments. Therefore, today it is important to restore and disseminate folk values, including folk instruments.
The relevance of this study is due to the need to draw attention to the rapid decline of the original Kalmyk folk culture, in particular, the Kalmyk folk musical instrument - the dombra.
The purpose of the study is to create a holistic picture of the Kalmyk folk instrument - dombra.
Study literature about Kalmyk musical instruments;
Study the history of the origin and structure of the Kalmyk musical instrument dombra.
Study the etymology of the name of the musical instrument dombra.
Conduct a meeting and conversation with dombra player Yulia Byurcheeva;
Object of study: Kalmyk musical instrument dombra.
Research methods: work with archival materials, photographs, conversation, visiting concert programs.
The theoretical significance of the research results is that the work can serve as the basis for further scientific research in the field of the Kalmyk musical instrument dombra.
Practical significance of the research results: the materials can be used in educational activities by students and teachers. Also, teachers of their native language can use research work in the classroom as a methodological development on the topic “Halmg dud”.
Research sources:
Book and newspaper and magazine collections of the National Library named after
A. M. Amr-Sanana.
Memoirs of domplayer Yulia Byurcheeva
The work of Turkologist E.R. Tenishev “Comparative-historical grammar of Turkic languages”
“Kalmyk-Russian Dictionary” A. M. Pozdneev.
B. Kh. Borlykova “Kalmyk musical terminology”
N. L. Lugansky “Kalmyk folk musical instruments”
The history of dombra goes back centuries. Judging by written monuments, dombra and similar instruments were common over a large territory of Asia and on the eastern outskirts of the European part of Russia: Kazakh dombyra, Kyrgyz dombura, Tuvan domra, Chuvash tumra, tamra, etc. It is possible to assume that all of these names come from a common ancient root, which is necessary in some of the centers of a more ancient civilization.
According to musicologist T.S. The desired model for all these national instruments can be recognized as the ancient Arab-Persian tunbur (tanbur), about which there is written information in the second book of the “Great Treatise on Music” by Abu Nasr Muhammad Farabi, a writer of the tenth century.
In 1989, in Kazakhstan, in the Almaty region, high in the mountains on the plateau (zhailau) “Maitobe”, Professor S. Akitaev, with the help of ethnographer Zhagd Babalykuly, discovered a rock painting depicting a musical instrument and four dancing people in different poses. According to the research of the famous archaeologist K. Akishev, this drawing dates back to the Neolithic period. Now this drawing is in the Museum of Folk Instruments named after. Ykylas Dukenuly in Almaty, Kazakhstan. As can be seen from the picture, the instrument depicted by the ancient artist on the rock is very similar in shape to the dombra. Based on this, we can say that the prototype of the current dombra is more than 4000 years old and is one of the first plucked instruments - the ancestors of modern musical instruments of this type.
Archaeological research has established that the Saka nomadic tribes used two-stringed musical instruments, which are similar to the Kazakh dombra and may be its prototype, more than two thousand years ago. Also, at one time, during excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that Khorezm two-strings, which existed at least 2000 years ago, have a typological similarity to the Kazakh dombra and were one of the common instruments among the early nomads who lived in Kazakhstan.
Based on the written monuments of the Eurasian continent, we can conclude that the dombra and its related instruments of other peoples on the mainland have been well known since ancient times. In monuments of different periods in the Eurasian space, we learn about the presence of this plucked instrument, in particular from monuments of Hunnic origin. This instrument is also found among the Kimans (Cumans). Marco Polo noted in his writings that this instrument was present among the nomadic Turkic warriors, who at that time in Rus' were called Tatars. They sang and played it before the fight to achieve the appropriate mood.
1.2. The structure of the dombra
Dombra is a stringed musical instrument that exists in the culture of the Turkic peoples. Dombra is considered a folk instrument among the Kazakhs, Kalmyks and other peoples. The Kalmyk language has a wide range of words denoting parts of dombra. Thus, the body of the dombra is called dombrin tsokts (dombrin biy, dombrin kөvrdg), the upper soundboard of the dombra is dombrin elkn, the lower soundboard of the dombra is dombrin nurһn, the resonator (voice box) is dombrin ә hardg nukn, the stand (filly) located on the upper soundboard under the strings is Dombrin Tevk; the neck of the dombra is dombrin ish, the frets of the dombra are dombrin burn; dombra strings - dombrin chivsn, dombra pegs - dombrin chikn, dombra head - dombrin tolkha.
Dombra is a two-stringed instrument made from maple, willow, acacia, mulberry and apricot wood. It consists of a body (1), a neck (2) and a head (3) (see Fig. 1.). The body of most modern dombras has a triangular shape; a pear-shaped body is less common (see Fig. 2, 3). There are two strings along the neck. The string is the source of sound vibrations of the dombra. The dombra was traditionally played with gut strings made from sheep intestines. It was believed that strings made from the intestines of a two-year-old sheep had the best qualities. Such strings produce a low sound and, accordingly, a low tune, characteristic of folk music. However, the vein strings could not stand it and quickly burst. As a result, today we have the only, widespread type of dombra of a standard form with fishing line strings, which has lost its unique sound timbre.
The current dombras have nylon strings, while the dombras made a long time ago still have the intestinal strings that the Kalmyks had in ancient times. The strings are attached at the bottom to a button on the body, at the top - to the pegs in the head. Pegs are needed to tension and tune the string. Also, when tuning a dombra, the stand plays an important role - the sound of the instrument depends on its position (closer or further from the fretboard). Most dombras have a fourth tuning - the first string is tuned to the A note of the small octave, the second to the D note of the first octave - such dombras are called second dombras.
1.3. Etymology of the name
A lot of research has been devoted to the etymology of the word dombra. For example, the famous Turkologist E.R. Tenishev in “Comparative-Historical Grammar of Turkic Languages” notes that the word domra comes from the Iranian language. The textbook “Kazakh Musical Terminology” provides an overview of scientists’ opinions on the etymology of the word dombyra. Thus, A. Zhubanov believes that the word dombyra comes from the Arabic words dunba and buree - “fat tail of the lamb.” The name is given by the appearance of the instrument: its oval body resembles a mutton tail. K. Zhuzbasov believes that the lexeme dombyra consists of two words - dem and beru - “to give breath”, “to inspire”, “to encourage activity”, which are closely related to musical performance. According to S.S. Dzhanseitova, the etymology of the word dombyra is connected with phonosemantic material. She writes: “In the Kazakh language, from the sound-depicting form dom-, don-, dun-, derivatives danryr are formed - “ringing”, “noise”, “hustle”, “rumbling”; danryra - “a type of percussion instrument”, “to rumble”, “to ring”, “to make noise”; dugIr - “dull sound of dombra”; Dingir - “low sound of dombra.” Common to all names with this meaning is the sonorant -ң. The use of this particular consonant in sound-depicting words, denoting a sonorous, resonating sound, is explained by the formation of a nasopharyngeal resonator, creating a sensation of soft vibration, a booming ringing.”
The word dombr has been found in Mongolian lexicographic works since the mid-twentieth century. So, the phrase hasag tovshuur, lit. “Kazakh tovshuur” is translated as dombra, dumbra. By the defining component hasag - “Kazakh”, one can determine who owns the instrument in question. This dictionary lists different types of dombras, differing in range: byatskhan doombor - “piccolo dombra”, erduu doombor - “alto dombra”, tseel doombor - “tenor dombra”, argil doombor - “bass dombra”, Akhmad doombor - “contrabass dombra” "
In the “Kalmyk-Russian Dictionary” by A. M. Pozdneev, as well as in other dictionaries, dombor (dombr) is translated as “balalaika”. In this case, also, the word “balalaika” is not an exact translation of the word dombra; We are talking about two different musical instruments. Balalaika is a Russian folk stringed musical instrument with a triangular body and three strings. Dombra is a Kalmyk folk stringed instrument with a pear-shaped or triangular body and two strings.
1.4. Legends about the origin of dombraThere are legends about dombra and its origin.
The legend about the origin of dombra says that in ancient times two giant brothers lived in Altai. The younger brother had a dombra, which he loved to play. As soon as he starts playing, he forgets about everything in the world. The elder brother was proud and vain. One day he wanted to become famous, for which he decided to build a bridge across a stormy and cold river. He began to collect stones and began to build a bridge. And the younger brother keeps playing and playing. So another day passed, and a third. The younger brother is not in a hurry to help the older one, all he knows is that he is playing his favorite instrument. The older brother got angry, snatched the dombra from the younger brother and, with all his strength, hit it against the rock. The magnificent instrument broke, the melody fell silent, but an imprint remained on the stone. Many years later. People found this imprint, began to make new dombras based on it, and music began to sound again in the villages that had been silent for a long time.
The legend about how the dombra acquired its modern form says that previously the dombra had five strings and no hole in the middle. Such an instrument was owned by the famous horseman Kezhendyk, known throughout the region. He once fell in love with the daughter of a local khan. Khan invited Kezhendyk to his yurt and ordered him to prove his love for his daughter. Dzhigit began to play, long and beautifully. He sang a song about the khan himself, about his greed and greed. The Khan got angry and ordered the instrument to be damaged by pouring hot lead into the middle of the dombra. Then a hole was burned out in the middle and only two strings remained.
Another legend about the origin of dombra is similar to the previous one. A local khan’s son died from the tusks of a boar while hunting, and the servants, fearing the khan’s wrath (he threatened to pour boiling lead down the throat of anyone who told him that something bad had happened to his son) went to the old master for advice. He made a musical instrument, which he called dombra, came to the khan and played it. The strings groaned and cried, as if the plaintive noise of the forest swept under the silk tent of the khan’s tent. The sharp whistle of the wind mixed with the howl of a wild animal. The strings cried out loudly, like a human voice, asking for help, and the dombra told the khan about the death of his son. The beautiful music of the dombra conveyed to the khan the harsh truth about barbaric cruelty and inglorious death. The angry khan, remembering his threat, ordered the execution of the dombra. Beside himself with anger, the khan ordered hot lead to be thrown into the round hole of the dombra. They say that since then there has been a hole left on the top deck of the dombra - a trace of molten lead.
During the time of the “Four Oirats”, among the national instruments - tovshur, khuchir, mern-khuur, etc. - an instrument similar to a flying battle arrow with feathers began to stand out. It was she who drew and repeated the fate of the Oirats. Two strings, like the trace of a cart train that has reached the desired country. Seven frets are like seven wonderful victories over enemies. The three corners of the dombra's body are like three nutugs that found free pastures on the banks of the Volga. And finally, an arrowhead that looks like a bamb-tsetsg, a tulip. It was a dombra, looking like a girl with her hand stretched out to the sun, on whose palm two pearls shine...
1.5. Playing the dombra
There are many performance techniques when playing the dombra. Most often, the sound is produced by striking the strings with the hand. In this case, all five fingers of the hand are involved. Performers can strike the strings in one or two directions, on one string or on two. They also play with two fingers - the index and thumb, or with one finger - just the thumb. The rhythm and combination of techniques depend on the piece being performed. The strings are pressed against the fingerboard with five fingers. The bar lies between the thumb and index finger. Due to its small width, the first string can be played not only with the thumb, but with all the other fingers of the hand. Modern dombras have approximately 21 frets. The sills separating the frets are made of iron and nylon. Previously, they were made from animal veins.
Playing the dombra is taught in music schools and colleges as a folk musical instrument. Children's ensembles and orchestras are also formed there and participate in local and out-of-town music competitions. In Kalmykia there is a National Orchestra, in which most of the musicians are dombra players. On the dombra it is possible to perform works of many styles - from folk songs to classics, despite the presence of only two strings. Many Kalmyk folk dances are performed to the accompaniment of dombra, such as Chichirdyk, Ishkimdyk. Folk songs are also sung to the accompaniment of dombra - Sharka-Barka, Tsagan Sar, Delyash. Have you noticed that the dombra is never played loudly? Gradually, slightly tightening or loosening the strings, smoothly moving the fingers along the frets, the musician finds the desired key and begins to play the melody. Ut dun (long-lasting), saatulyn dun (lullaby), uyhn dun (lyrical), keldg dun (fast). Everything is subject to dombra.
Currently, the traditional culture of Kalmykia has begun to fade away. There are only two dombra-makers in the republic. In order to support the development of folk culture in society - in particular among young people - the administration of the city of Elista in the summer of 2015 organized a performance by a combined orchestra of dombra players. The conductor of the orchestra was the conductor of the National Orchestra of the Republic of Kalmykia, Savr Kataev. Performers were collected from all over the republic for two months. As a result, 330 dombra players gathered on the square in front of Khurul (initially it was supposed to be 300 people). Some of the musicians were represented by adult specialists, but most were children, students of music schools. This gave hope that the young part of the population would develop and support folk traditions and culture. The concert was attended by the chief lama of Kalmykia - Telo Tulku Rinpoche. They performed dombra tunes from folk melodies, the first chapter of the epic “Dzhangar”, the work “Green Tara”, dedicated to a Buddhist deity, and the work “Ur Sar”, dedicated to a Buddhist holiday. The combined orchestra also played other Kalmyk folk instruments - biive, tsur, tsang and others. All the musicians were dressed in national costumes of various colors (see Fig. 4, 5).
1.6. Biography of Kalmyk dombra teacher Yulia Viktorovna Byurcheeva
Yulia Viktorovna Byurcheeva was born in 1976 in Elista, studied at music school No. 2 (now Children's Art School No. 2) in the Kalmyk dombra class with Lyubov Tyurbeevna Dokhaeva from 1985 to 1990. In 1993, she entered the School of Arts in the department of Kalmyk folk instruments in two specialties: Kalmyk dombra and khuchir. The same teacher remained in Kalmyk dombra; khuchir was taught by two teachers - Ta Namuzzile and Tsevelma Bagsh. From 1995 to 1997, she completed an internship in Mongolia at a music school in the city of Ulaanbaatar. She received her higher education at the Kazan State Conservatory named after Nazib Zhiganov, class of khuchir. The teacher is People's Artist of Tatarstan, professor, director of the state string quartet Shamil Khamitovich Monasypov. In 2002, she came to work at the School of Arts, while simultaneously teaching at the Children's Music School No. 1 named after Sanji-Gary Dorjin. In 2011, she became the head of the department of Kalmyk folk instruments at Children's Music School No. 1, and since 2015 she has been deputy director for academic affairs. In 2015, Byurcheeva Yu.V. By decision of the Administration of Elista, she was recognized as the best teacher of additional education. Over the years, the school has graduated 14 people, six of them with honors. Of these, eight became laureates of international, republican and all-Russian competitions. One of the graduates, Goryaev Chingis, became a laureate of the Head of the Republic of Kalmykia award and a laureate of the Elista City Administration award. Byurcheeva Yulia Viktorovna is the author of methodological works, programs, arrangements for Kalmyk dombra and khuchir.
By providing this biography, I wanted to show that currently there are specialists in playing the dombra and learning to play this instrument does not stop.
CONCLUSION
Instrumental and song-instrumental creativity plays a major role in the folk art of the republic. For a long time, folk art was improved and developed, and along with it, musical instruments experienced their history. One of the most common and most beloved instruments by the people is the dombra.
The Kalmyk dombra is an instrument with a really long history, its own performing technique and a difficult fate. Having endured the cold years in Siberia, she returned to her native steppes and began to play loudly again, giving joy and happiness to her listeners. Residents of Mongolia, Kazakhstan, and Kalmykia have common ancestors. In Mongolia and Kazakhstan there are instruments related to dombra, which have different names - tovshur, dombyra, and so on. Consequently, the dombra is an instrument of the distant ancestors of the Kalmyks. Proof of this is the fact that the ancient Kalmyk epic “Dzhangar” is narrated by the Dzhangarchi, accompanying themselves by playing the dombra. In 2015, the epic “Dzhangar” turned 575 years old, so we can assume that the dombra is at least five centuries old.
Dombra is a stringed musical instrument that exists in the culture of the Turkic peoples. The dombra has a pear-shaped or triangular body and two strings. Dombra is considered a folk instrument among the Kazakhs, Kalmyks and other peoples. A lot of research has been devoted to the etymology of the word dombra.
There are legends about dombra and its origin that in one way or another reveal its significance for Kalmyks and Kalmyk culture.
There are many performance techniques when playing the dombra. The rhythm and combination of techniques depend on the piece being performed. Playing the dombra is taught in music schools and colleges as a folk musical instrument. Children's ensembles and orchestras are also formed there and participate in local and out-of-town music competitions. In order to support the development of folk culture in society, in particular among young people, the administration of the city of Elista in the summer of 2015 organized a performance by the combined orchestra of dombra players of the Republic of Kalmykia, which brought together 300 performers from different parts of the region. This gave hope that the young part of the population would develop and support folk traditions and culture.
Thus, having been born in the west of Mongolia, repeating the fate of the Oirats, having traveled from Dzungaria to the Volga, having experienced wars, devastation, and repression, the Dombra has retained its identity. And our task is to preserve the dombra.
A brief dictionary of Kalmyk musical terms
Tovshur is a type of two-stringed neck lute, one of the oldest Kalmyk folk instruments.
Khuchir is a bowed two-string instrument of the soprano register. The bow is made from an acacia branch, willow and horsehair, two strands of hair are threaded between the strings and the bow is played across two strings at once.
Mern-khuur is a two-stringed bowed instrument. The sound is produced with an arched bow made of acacia or willow.
Biive is a flute instrument, type - transverse flute. Made from babmuk and reeds. Currently not widespread in Kalmykia.
Tsur is a flute instrument, type - longitudinal flute. Made from wood. In the old days, tsur was common among shepherds and shepherds.
The collet is a percussion instrument. Metal plates that are discs. When playing, the collets are held by special straps. The collets have a low sound, strong noise wave.
LIST OF REFERENCES USEDAlekseeva L.A. Nazhmedenov Zh. Features of the musical structure of the Kazakh dombra.//Kazakh culture: research and search. Collection of scientific articles, Almaty, 2000.
Alekseeva L.A. Nazhmedenov Zh. Features of Kaja dombra.// We and the universe. 2001.№ 1(6), p52-54.
Borlykova B.Kh. Kalmyk musical terminology. Elista, 2009.
Vyzgo T. Musical instruments of Central Asia. Moscow, 1980.
Lugansky N.L. Kalmyk folk musical instruments. Elista, 1987.
Nazhmedenov Zhumagali. Acoustic features of the Kazakh dombra. Aktobe, 2003
Rice. 1. Structure of the dombra
Rice. 2. Dombra with a pear-shaped body
Rice. 3. Dombra with a triangular body
Rice. 4. Performance by the combined orchestra of dombra players of the Republic of Kalmykia (June 2015)
Rice. 5. Combined dombra orchestra of the Republic of Kalmykia
Jazz
We always recognize jazz by ear. First of all, the composition of musical instruments in jazz attracts attention. The primacy here belongs to wind and percussion musical instruments.
The hoarse and passionate voice of the saxophone, the sharp screams of the trumpet, the distinct rhythmic pattern of the drums - their sound cannot be confused with anything. But jazz is not only a group of musicians, an orchestra. Jazz is also music to be performed in such an orchestra.
Rhythm dominates this music.
So he begins to swing the sounds, and the whole orchestra, and behind him the listeners, find themselves in the element of this mesmerizing swing. This is one of the main styles of jazz performance - "swing"... It’s like a person tired of hard work, swaying, singing a sad, hopeless song. American black slaves had such songs. This swing was brought to jazz music by black musicians. This kind of music was later called blues.
But suddenly an orchestra or ensemble, obeying the impulses of a rapid rhythm, almost lifts the audience from their seats. This rhythm is constantly interrupted, as if the musicians are choking in a patter. And each of them tries to prove that he is “right” when he is given the floor. And then the instruments all start playing together and in full voice. However, they have not forgotten the general theme of the musical conversation; they talk about the same thing in their own way... So the musicians improvise in a manner called “Dixieland”.
Folk songs and dances of American blacks and whites gave rise to the art of jazz. Jazz did not want to remain only musical accompaniment for fashionable dances. Real jazz strives to become independent music, which, gathering in large halls, people listen to with interest and attention.
The whole world knows the names of the famous jazz trumpeter Louis Armstrong, pianist and composer Duke Ellington and other wonderful jazz artists.
Treble
If the bass is the foot, then the treble is the top of the sounding ladder of voices. In the old days, when choral art was hidden under church vaults, the role of high voices was entrusted to boyish voices - trebles. This is how choirs appeared in which only boys sing. Their voices are stronger than those of little girls, and therefore the treble parts are entrusted to the boys.
Domra and dombra
Don't confuse them. Domra (pictured left) is a Russian folk instrument, three-stringed or four-stringed, played with the help of a plate-mediator. Dombra (pictured on the right) is a two-stringed Kazakh folk instrument, played with fingers, rattling, like a balalaika.
Brass band
Can you hear the music coming? Yes, yes, you are standing, and the music, the orchestra, is approaching you. Listen up! Brass instruments sound - it's a brass band.
Most often, his music can be heard when military units are marching. Or while walking in the park. After all, wind instruments (especially brass instruments) have a very loud sound that carries far, far away...
Application
to participate inXregional competition
children's ethnographic works
"Craftsmen"
1. Last name, first name, patronymic of the participant: Bainiyazov ErlanSerikbaevich
2. Last name, first name, patronymic of teachers: , classroom teacher . , Physics teacher
4. Locality: p. Kasselsky
5. Director of the organization representing the competition participant:
6. Title of the article: Dombra - Kazakh national instrument
7. Contact e-mail: kassel- school@ mail. ru
8. Postal address: Chelyabinsk region, Nagaibaksky district, Kasselsky settlement,
9. Contact phone number of the competition participant and teacher:
Municipal educational institution Kasselskaya secondary school
X district children's
ethnographic competition
Craftsmen
Thematic direction of research work
The object world of the traditional culture of the peoples of the Southern Urals: the history of an ancient object
Title of the research paper
DOMBRA – KAZAKH NATIONAL INSTRUMENT
I've done the work: Bainiyazov Erlan, 10th class.
Managers: , class hands , academic physicists
p. Kasselsky
Dombra in Kazakh culture
The dombra is rightfully recognized as one of the greatest inventions given to the world by the Turkic peoples.
Dombra(Kaz. dombyra) Kazakh folk two-stringed musical instrument. It is used as an accompanying and solo instrument, as well as the main instrument in Kazakh folk music.
In 2010, the dombra was included in the Guinness Book of Records after 10,450 dombra players performed the Kazakh musical play “Kenes” in China.
The technique of playing the dombra is similar to the methods of playing other plucked instruments: the musician’s left hand slides freely along the fingerboard (handle), and with the help of the fingers of the right hand, striking both strings, sound is produced. The melodious, velvety, rhythmic sounds of the dombra tell of the endless steppes of Kazakhstan, of quiet jailaus with peacefully grazing herds. But as soon as the sound of the strings is strengthened, the melody rushes after a herd of horses galloping through the pasture. In the steppe melodies of the dombra you can hear the rustling of grass and the ringing of streams, the jubilation of bird choirs, the neighing of horses and the clatter of hooves. In the old days, the dombra was played at feasts and before battle to achieve the appropriate mood. Like Russian buffoons, Kazakh folk storytellers akyns walked with dombra through bazaars, fairs and villages, performing one play after another. In just 2-4 minutes (the playing time of one piece), with the help of two strings, steppe musicians conveyed the joys and sorrows of the common people. No matter how sad the melody is, the sound of the dombra always contains a warm, sincere parting word. People say that the soul of a Kazakh lives in the sounds of dombra.
Dombra device
A relative of the balalaika, the dombra has a pear-shaped body with two strings and a long neck, on the neck of which metal frets are attached. By pressing the strings between the frets, you can get a more melodic sound.
It is interesting that the Kazakh name “dombra” is formed by a combination of two words: “house” means sound, and “bra” means tuning the strings. The birth of a Kazakh folk instrument begins with the choice of wood; traditionally, craftsmen cut out the body from hardwood - maple, oak, pine. Making every detail of the dombra and especially the soundboard with a spring that serves as a sound amplifier. Requires precision and endurance. An error of even 1 mm leads to wheezing and rattling during play.
Previously, natural strings from lamb intestines were pulled onto the body of the dombra, so the instrument produced a deeper, lower and dull sound. Since low tuning is inconvenient for performing orchestral classical works, dombra strings began to be made from polymers.
History of the instrument
In 1989, in Kazakhstan, high in the mountains on the Maytobe plateau (zhailau), Professor S. Akitaev, with the help of ethnographer Zhagd Babalykuly, discovered a rock painting depicting a musical instrument and four dancing people in different poses. According to the research of the famous archaeologist K. Akishev, this drawing dates back to the Neolithic period. The instrument depicted by the ancient artist on the rock is very similar in shape to the dombra. Based on this, we can say that the prototype of the current dombra is more than 4000 years old and is one of the first plucked instruments.
Also, at one time, during excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that Khorezm two-strings, which existed at least 2000 years ago, have a typological similarity to the Kazakh dombra and were one of the common instruments among the early nomads who lived in Kazakhstan.
In the 21st century, in the era of electronic music, dombra still arouses the interest of music lovers. For example, Kazakh rock bands combine the sound of dombra, violin and electric guitar, creating a completely new sound. The old dombra is winning more and more new fans.
In recent years, many attempts have been made to create an electric dombra in Kazakhstan. But only in 2012 was a tool created that received an international patent. The author of the instrument is master Adil Sabit, who creates and restores guitars and dombras. He entered the honorary guild of London guitar makers.
So far this is the only instrument, the first patented electric dombra. Previously, attempts had been made to create an electric dombra. In this case, most often the strings on the instrument were changed to metal ones and a regular pickup was installed. Adil Sabit took a different path. He managed to preserve the nature of the traditional dombra - it has nylon strings. But inside the instrument he installed sensors of a special design, which are his invention. Thanks to this, it became possible to connect additional devices to it: music processors, sound converters and other devices.
The structure of the dombra
Greed" href="/text/category/alchnostmz/" rel="bookmark">greed. The Khan got angry and ordered the instrument to be damaged by pouring hot lead into the middle of the dombra. A hole formed in the middle and only two strings remained.
Another legend about the origin of dombra
A local khan’s son died from the tusks of a boar while hunting, and the servants, fearing the khan’s wrath (he threatened to pour boiling lead down the throat of anyone who told him that something bad had happened to his son) went to the old master Ali for advice. He made a musical instrument, which he called dombra, came to the khan and played it. The strings groaned and cried, as if the plaintive noise of the forest swept under the silk tent of the khan’s tent. The sharp whistle of the wind mixed with the howl of a wild animal. The strings cried out loudly, like a human voice, asking for help, and the dombra told the khan about the death of his son. Beside himself with anger, the khan ordered hot lead to be thrown into the round hole of the dombra.
Literature
1. Kurgan Issyk. - Moscow, 1978.
2. , Features of the Kazakh dombra.// We and the universe. 2001.№1(6), p52-54.
3. Musical instruments of Central Asia. - Moscow, 1980.
4. Creativity of a violin maker. - Leningrad, 1988.
5., Ochakovsky dictionary of a young musician. – Moscow “Pedagogy”. 1985.