User:GaiJin/Kazakh dombyra

The Kazakh Dombyra

Kazakh dombyra, front and side view.
Classification	String instrument (Strummed string instrument)
Hornbostel–Sachs classification	321.321 (Composite chordophone)
Related instruments
Bowed and plucked string instruments

The Kazakh dombyra (Kazakh: домбыра) is a fretted national musical instrument of Kazakhs that typically has two strings. The instrument has a sophisticated tradition with five music schools and thousands of compositions. The dombyra was first used in the epic tradition to accompany songs and later contributed to the formation of the genre of instrumental music, kuy (Kazakh: күй).

History

Approx. 6000-year-old petroglyph discovered in Kazakhstan, Almaty region, Maitobe summer camp depicting dancers with musical instrument

In 1986, in the Almaty Region of Kazakhstan, in the Maitobe summer camp (Kazakh: Майтөбе жайлауы), professor Sabetqazy Aqataev (Kazakh: Сәбетқазы Ақатаев) with the help of ethnographer Jağda Babylyqūly discovered a petroglyph depicting a musical instrument and four dancing people in various poses. According to the archaeologist Kemel Aqyshev, this figure comes from the Neolithic period (around 4000 BC). The rock fragment depicting this drawing is currently located in the The Ykhlas Museum of Folk Musical Instruments in Almaty, Kazakhstan. The instrument depicted on the petroglyph has a lot of resemblence to the shape of the dombyra. Thus, one can conclude that the prototype of the current dombyra was used approximately 6,000 years ago , rendering dombyra as one of the first plucked instruments.

Types

Currently, there are more than 20 types of dombyra. Among them are:

• Dombyra for singing and kuys
• Torsiq (Kazakh: Торсық - traditional leather flask used for carrying liquids with rounded body) - unlike the standard dombyra, which typically has a more elongated body, the torsiq has a more rounded body. This shape gives it a distinct acoustic quality, often producing a deeper, more resonant sound compared to other types of dombyra.
• Tumar (Kazakh: Тұмар - amulet or talisman usually with a triangular body) - has a compact, triangular, or teardrop-shaped body, which differentiates it from the standard dombyra
• Dombyra with a wide body (two versions)
• Baldirgan (Kazakh: Балдырған - a young child) - baldirgan dombyra is designed for children or beginners, making it smaller in size and easier to handle compared to the standard dombyra.
• Balashiq (derived from Bala (Kazakh: бала), which means 'a child') is a small rounded type of dombyra designed for young beginners. Its overall length is 64cm. The size of the body is 34 cm, and the length of the neck is 42 cm. The length of the palm (handhold) is 6 cm.
• Shinkildek (noun form of Shinkildeu (Kazakh: Шіңкілдеу), which means to strum, tinkle or to produce high-pitched, light, and somewhat tinkling sound) is a simple type of dombyra with a narrow body (width - 8-10 cm, length - 45-50 cm) that produces a lighter, more delicate sound than standard dombyra. Shinkildek is usually used in ensemble settings or in performances where its delicate tonal qualities can complement other instruments.
• Asha (Kazakh: Аша - a hayfork) - double-sided dombyra with two strings attached to each side of the instrument, also known as the four-stringed dombyra. The strings on one side of the dombyra could be tuned in a reverse tuning (a fifth interval), while the strings on the other side could be tuned in the standard tuning. This version of the dombyra was mostly used by left-handed kuy players. The body of the dombyra is cubic, with a thickness of 5-7 cm and a length of 85 cm.
• Three-stringed dombyra - although rare, the early documented use of the three-stringed dombyra dates back to 1857, as mentioned by ethnographer D. Isaev, who visited the Kazakhs of the Bukey Horde. Various other accounts of the instrument were also collected by ethnographers A. Yevreinov, A. Kharuzin, and P. Yudin.
• Hollow-neck dombyra

Orchestral dombyras:

• Low-pitched (alto)
• High-pitched (prima)
• Sharp-pitched (secunda)
• Bass dombyras (two versions)

Structure

Elements of dombyra's structure

Dombyra's structure can be divided into the following main parts:

1. Bas (Kazakh: бас) - Headstock: The top part of the dombyra where the tuning pegs are located. It is slightly angled and holds the tuning pegs that adjust the string tension.

2. Qulaq (Kazakh: Құлақ) - Tuning Pegs: The pegs used to tighten or loosen the strings, allowing the dombyra player to tune the instrument to the desired pitch.

3. Shaytan tiek (Kazakh: Шайтан тиек) - Devil's Bridge: A small piece at the top of the neck, just before the headstock, that holds the strings in place and maintains their spacing as they pass towards the tuning pegs.

4. Moyin (Kazakh: Мойын) - Neck: The long, slender part of the dombyra extending from the body to the headstock. The neck is where the frets are located and where the musician places their fingers to produce different notes.

5. Perne (Kazakh: Перне) - Frets: The raised strips on the neck, traditionally made from gut or modern materials, that divide the neck into fixed intervals, allowing the musician to play different notes. Standard dombyra has 21 frets.

6. Ishek (Kazakh: Ішек) - Strings: Traditionally made of gut, now often made from nylon or metal. The dombyra usually has two strings, although some variations may have three or four.

7. Shanaq (Kazakh: Шанақ) - Body: The hollow, resonating chamber of the dombyra, usually pear-shaped or oval. It amplifies the sound produced by the strings.

8. Bastyrma (Kazakh: Бастырма) - Nut: A small piece at the top of the body, just before the strap button, that holds the strings in place.

9. Qaqpaning qorgani (Kazakh: Қақпаның қорғаны) - Soundboard Guard: A protective element on the soundboard that shields it from wear, scratches, or damage during playing.

10. Oyiq (Kazakh: Ойық) - Sound Hole: An opening in the soundboard that enhances the resonance and projection of the sound.

11. Tiek (Kazakh: Тиек) - Bridge: A small piece, typically made of wood or bone, placed on the soundboard. It supports the strings and transmits their vibrations to the body, influencing the instrument’s sound.

12. Qaqpaq (Kazakh: Қақпақ) - Soundboard: The top surface of the body, which vibrates to produce sound when the strings are played.

13. Tuyme (Kazakh: Түйме) - Strap Button: A small component where a strap can be attached to help the musician hold the dombyra, especially during performances.

Genres of music

Traditionally, the dombyra was used to accompany songs or to play kuys. A kuy(Kazakh: күй) is an instrumental composition that conveys stories, emotions, or scenes without the use of words, using the dombyra to express the narrative through melody and rhythm. However, in modern times, the dombyra has found a place in a variety of musical contexts. It is now used in orchestras, on stage, and in contemporary genres like pop music and folk rock, showcasing its versatility and enduring cultural significance.

Examples used in Diwan Lughat al-Turk can be translated as "A man sang with a melodious tune" and "What melody is this song in?"

There are two dictionary entries for the word KUG in Dīwān Lughāt al-Turk compiled in 1072–74 by Mahmud al-Kashgari. One means "The song's tone, melody, and tune." and the other one translates as "motive, tune".

Composers and/or performers of kuy are called kuyshi (күйші).

In 2014 the Kazakh traditional art of Dombyra Kuy was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.

Music schools of kuy

Kazakh kuys are traditionally divided into two stylistic schools based on their structure, performance tradition, and plucking techniques: tökpe (Kazakh: төкпе, derived from tögu (төгу) - to pour, to flow) and shertpe (шертпе, derived from shertu (шерту) - to pluck, to strum gently). The first style, tökpe, is characterized by energetic, dynamic composition with a symphonic in nature (examples include Jantore's "Shalqima," Kurmangazy's "Kishkentai" and "Saryarqa," and Dina's "Bulbul," among others). The second style, shertpe, is marked by deep philosophical reflection and is filled with contemplative and emotional content (examples include Tattimbet's "Sarijaylau," "Kokeykesti," and "Silqildaq," Toqa's "Qosbasar," and Sugir's "Togiz Tarau," among others).

Currently, the traditional kuy schools in Kazakhstan are divided into seven regions:

1. Altay Kuy School – Eastern Kazakhstan;
2. Arqa Kuy School – Central Kazakhstan;
3. Jetisu Kuy School – Southeastern Kazakhstan;
4. Karatau Kuy School – Southern Kazakhstan;
5. Jidel-Baysin Kuy School – Syr Darya, Aral region;
6. Orda Kuy School – Western Kazakhstan;
7. Tübek Kuy School – Mangystau

Altay Kuy School – Eastern Kazakhstan

The kuy tradition of the Eastern region covers a wide area geographically. This includes Eastern Kazakhstan (Semey, Shingistau, Shubartau, Ayagoz, Tarbagatay), the Xinjiang (China), as well as Bayan-Ölgiy (Mongolia), where the kuy heritage of the Kazakhs is also part of this tradition. The kuy tradition in this region mainly consists of archaic epic kuys.

Arqa Kuy School – Central Kazakhstan

Georgpahically the representatives of this school come from the region of Sari Arqa, hence the name. Compared to other shertpe schools, it is clear that the Arqa kuys are much more developed in terms of musical structure and complexity. The first to give scientific evaluation to the Arqa kuys and facilitate their notation was academician A. Zhubanov. Tattimbet's kuys, such as 'Qosbasar,' 'Sarijaylau,' and 'Silqildaq,' were included in the repertoire of the first organized national instrument orchestra in Kazakh history. The talented dombyra player Rustembek Omarov (1919-1988), who joined this orchestra at the age of fourteen, actively promoted Arqa kuys. His colleagues, Zhappas Kalambaev(1909-1970) and Magauiya Khamzin(1927-2000), also played a significant role in ensuring that the Arqa shertpe tradition was not interrupted. The authentic form of Arqa kuys was preserved and passed down through Abiken Khasenov(1897-1958).

The most prominent representative of the school was Tattimbet Kazangapuly (1815-1862). He is considered the father of the shertpe kuy genre in general.

Jetisu Kuy School – Southeastern Kazakhstan

The Jetisu Kuy School encompasses the current Almaty, Jetisu, and [Jambyl Region|Jambyl]] regions, although, this is a conditional division. Considering the ancient nomadic life of the Kazakhs, there are scholars who also include the Ili region of China on the other side of the Alatau mountains due to the intermingling of these areas. It is quite challenging to pinpoint the main characteristics of the Jetisu Kuy School and the specific features that distinguish it from other kuy schools from a musical development perspective. This is because the kuys of this school often blend the styles of Arka, Karatau, Altai, and Syr regions. While the playing technique includes elements of the tökpe style, the development of the kuy largely remains within the bounds of the shertpe style. In Jetisu kuys, Kyrgyz melodies are more prominent, and the swift and expressive tunes of the komuz are freely used, shared between the two nations.

Prominent kuyshi include Kozheke Nazaruly (1823-1881), Nurgisa Tilendiyev (1925-1998) and others. Jetisu Kuy School was researched by Bazaraly Muptekeyev (1967-2015), who compiled the kuys of composers, and in 1998 published a collection of sheet music titled 'Kuys of Jetisu' (together with S. Medeubek).

Jidel-Baysin Kuy School – Syr Darya, Aral region

The kuy art of the Syr region possibly traces back to Qorqit Ata, or perhaps even thousands of years earlier. In any case, this sacred art has continued uninterrupted to this day.

Orda Kuy School – Western Kazakhstan

In the 18th and 19th centuries, a significant dombyra-playing tradition developed in the Bukey Horde of Western Kazakhstan (hence the name of the school). The Bukey Horde, existed between 1801 and 1845 in the region between the Volga and Ural rivers. The development of the kuy tradition in this region was heavily influenced by the khans and sultans. Notable composers like Aringazi Abilgaziuli, Jantore Ayshuaquli, Dauletkerey Shigayuli, Salauatkerey, and Turkes, among others, were from noble families. Musicians such as Bogda, Balamayzan, and Uzak played a crucial role in establishing the kuy tradition in Western Kazakhstan. Moreover, Makhambet Otemisuly was a key figure in shaping this musical school. Makhambet’s kuys are closely aligned with his powerful, battle-like poetry. The Bukey kuy tradition, which later evolved into two major branches, is deeply connected with the works of Kurmangazy Sagirbayuli and Dauletkerey. The music of Kurmangazy, a classic figure in Kazakh music represents the pinnacle of this performing tradition and stands as an invaluable cultural treasure of the Kazakh people.

In the 20th century the masters who passed down this rich kuy tradition to the next generations include renowned dombyra players such as Okap Kabigozhin(1904-1942), Kali Zhantileuov(1902-1993), Tolegen Arshanov(1888-1965), Gylman Kairoshev, Rustembek Omarov, Azidolla Yeskaliyev, and Rysbai Gabdiev(1936-2004). The kuy tradition of this region was extensively researched by Aleksandr Zatayevich, academician Ahmet Zhubanov. Following him, kuy scholars like Timat Mergaliyev (1936-2009), Karshyga Akhmedyarov(1946-2010), and Aitjan Toktagan made significant contributions. Additionally, writers and scholars such as T. Akhtanov, I. Kenzhaliev, T. Alimkulov, and A. Seydimbekov left behind valuable works on this subject.

Tübek Kuy School – Mangystau

The kuy school that developed in this region stands out with its unique performance and creative methods that have evolved in isolation. The Mangystau kuys, which are part of the Western kuy tradition, are distinguished by their sharp, competitive nature, and have developed into a separate school. The Mangystau region also preserves a wealth of ancient kuy samples, described through legendary tales, competitive contests, and sequential, historical kuys.