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The presented article is devoted to the analysis of the vocal part of Abai from the same-name opera by Latif Hamidi and Akhmet Zhubanov using the method of intertextuality. The study is conducted in the context of the rich traditional culture of Kazakhstan, including musical, literary and semantic aspects of the opera part. The authors of the article turn to modern theoretical concepts of intertextuality to analyze the connections between the musical elements of opera and various cultural texts. Special attention is paid to intertextual references in Abai’s vocal part, which makes it possible to understand the deep context and semantic load of the musical utterances of the main character. The authors turn to numerous sources, including contemporary studies in the field of musicology, opera and culture, to present a deeper analysis of the “Abai” opera and its place in cultural context. The results of the study help not only to understand the complex structure and content of opera, but also to expand the awareness of how the intertextuality method can contribute to a deeper analysis of musical works.The work is based on the theory of intertextuality and includes the analysis of musical, literary and cultural aspects of the opera. A comparison of Abai’s vocal part with folk songs, poetic works and historical plots is carried out. Also, intertextual connections were revealed, as well as its correlation with the cultural heritage of Kazakhstan. The influence of the national musical heritage on the creation of the opera is discussed. The results of the analysis are presented, which make it possible to expand the understanding of the “Abai” opera in the context of the opera art of Kazakhstan.The conclusions of the study emphasize the importance of using the intertextuality method for in-depth analysis of opera music. The article contributes to the development of the research direction and fosters to a deeper comprehention of the cultural significance of the “Abai” opera.
Izbambetov et al. (Tue,) studied this question.