This study examines selected works by Tattimbet Kazangapuly (1815–1860), the founder of the Arka Shertpe dombra school in Central Kazakhstan, and Toka Shongmanuly (1830–1914), who developed a distinctive performance tradition within this school. It focuses on a comparative analysis of the kuis Saryzhailau, associated with representations of nature, and Bozaigyr, reflecting animal imagery. The composers’ creative contributions are outlined in the first section and the comparative study are presented in the second part of the work. The researcher has fulfilled a musical-stylistic analysis that was indicated in the methodological part (S. Utegalieva) having covered such aspects as modal-intonational and thematic, compositional and metric-rhythmic features as well. The historical-comparative, and typological, and systemic-ethnophonic approaches were applied (I. Matsievsky) along with the similarities and distinctive features in the pieces of Tattimbet and Toka, who were able to demonstrate the influence of their styles. The highlighted materials were drawn from the instrumental collection “Saryarqa Sounds” by Bilal Iskakov. Moreover, the author had examined the works of Kazakhstani and international ethnomusicologists and dombra masterpieces composed under the Kazakh ethnic musical traditions. Indicating their compositional layout, rhythmic flow, metrical organization and modal–intonational coloring it is possible to affirm that the compositions “Saryzhailau” and “Bozaighyr” are not similar completely and differ substantially. At the same time the strong Tattimbet’s artistic manner shaped Toka’s style and such comparative analyses is important for understanding both the shared foundations and the subtle distinctions within Kazakh dombra music.
Alina et al. (Sun,) studied this question.
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