Academic literature on the topic 'Songs, Kazakh'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Songs, Kazakh.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Songs, Kazakh"
1
Zhaparova, А. "RITUAL SONGS AND WAYS OF TEACHING THEM." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 389–94. http://dx.doi.org/10.51889/2020-4.1728-7804.78.
Full textAbstract:
Traditional ritual songs are the main factor that makes up the rich spiritual potential of the Kazakh people. The very method of teaching samples of Kazakh oral literature in accordance with our modern life is becoming one of the urgent problems of Kazakh folklore. Ways to solve it should be carried out in accordance with modern literary trends. It is true that traditional ritual songs are taught from school. Education programs at the school level are unified. Its development and training in various methods and techniques are well established. All possible favorable situations are created for the education and formation of the national spirit among schoolchildren through the teaching of traditional ritual songs. And this process does not freeze in one place, it moves forward. Over time, attention is paid to training at the appropriate level based on technological advances. Although the issue of teaching Kazakh ritual songs was raised in higher educational institutions, but clear guidelines have not yet been developed. In General, the very training of oral literature samples in higher education is a controversial issue. The question of how necessary this is will be discussed in this article.
2
Eginbayeva, T., and А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.
Full textAbstract:
The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn to the poetic heritage of Abai. In each of the romances the organic unanimity of the composers and the poet is manifested, each of the songs is self-sufficient and has its own musical and poetic content, all romances differ from each other both genre and stylistically.
3
Zhirenov, S., and Y. Kasenov. "LINGUO-COGNITIVE SEMANTICS OF ORNITHONYMS IN TEXTS OF SONGS." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 46–52. http://dx.doi.org/10.51889/2020-3.1728-7804.08.
Full textAbstract:
In the article, the texts of Kazakh songs with ornithonyms are grouped in accordance with their use. The use of ornithonyms in the lyrics and their semantic meaning are also divided into thematic groups. The thematic group is based not only on the paradigmatic connections of ornithological names, but also on denotative ones. The linguo-cognitive semantics of the thematic group of ornithonyms and lyrics is determined. The semantics of ornithonyms in the lyrics is based not only on the similarity of the lexical meaning of words, also on the allegorical metaphorical meaning of objects and phenomena by which they are called. The semantics of ornithonyms in the lyrics reflects the cognitive characteristics of the ethnos in the perception of the world through a song. The presence of birds in the lyrics, close to the worldview of the ethnic group, is an indicator of national culture, which to a certain extent determines the ethnic identity of the ethnic group. In the spiritual world of an ethnos, ornithonyms in Kazakh poetry have long existed and are a spiritual value that remains to this day. The linguo-cognitive analysis of the language units of the lyrics reveals its significance in the Kazakh ethnic group.
4
Zhirenov, S. "LINGUISTIC REVIEW OF ORNITHONYMS IN TEXTS OF KAZAKH SONGS." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 93–98. http://dx.doi.org/10.51889/2020-2.1728-7804.13.
Full textAbstract:
The article reflects the significance of the study of ornithonyms in the texts of Kazakh songs in a linguistic aspect. Ornithonyms in the lyrics of songs reflect the linguistic features of cognition by the ethnic groups of the world. In an interdisciplinary aspect, the interconnectedness of linguistic units in the lyrics is considered. During the existence of an ethnic group, ornithology has taken root in its daily life, having shaped the cultural life of the ethnic group. The songs of the ethnic group are an important part of its linguistic units, which have not lost their significance to this day. The study of the lyrics in the ornithological aspect reflects the characteristics of the language and culture of the ethnic group. Ornithology takes a great importance in the life of the Kazakh people. Ornithonyms in the lyrics reflect the national identity, their knowledge and culture of the ethnic group. Lyrics, which are rich with ornithonyms, is formed on the basis of social factors through worldview and cultural life, the customs and traditions of the whole ethnic group. The integrity of linguistic units of a connotative nature in lyrics with ornithonyms is considered from the linguistic aspect.
5
Seisenbayeva, Zh. "ARTISTIC FEATURE OF GIRLS ' EDUCATION IN KAZAKH LITERATURE." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 314–18. http://dx.doi.org/10.51889/2020-4.1728-7804.64.
Full textAbstract:
The article reveals the features and nature of artistic design in Kazakh literature. In the scientific article, proved by concrete examples of the features of describing the image of a mother, raising a daughter in Kazakh Proverbs, it was formulated that such qualities as selflessness, courage, arrogance, foresight and wisdom have been the basis of legendary stories, heroic songs, songs in the mouth of the country for centuries. In connection with the wise philosophical principle "forty years of a girl", our ancestors paid special attention to the education of girls. In order to meet the" Kyz osse Eldin korkimi", he was instilled morality, decency, hard work, beauty. As they say "Kyz zhattyk", our ancestors, who studied life, wanted the upbringing of their daughters in a foreign country to be individualized by what I saw. The main problem facing our modern national literature is the images of women-mothers who have taken as a basis the upbringing of the nation, prosperity, and family well-being, and not the negative character traits found in women-mothers. The scientific article provides examples of works about Kazakh heroes who performed equestrian feats together with men for the freedom of their country and showed unwavering selflessness.
6
Kossymova, G., and K. Issahanova. "PEDAGOGICAL IDEAS (THOUGHTS) IN ʻʻBABALAR SOZI (WORDS OF THE ANCESTORS)ˮ." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 104–8. http://dx.doi.org/10.51889/2020-2.1728-7804.15.
Full textAbstract:
This article discusses the issues of the national spirit, national identity, national idea, patriotism, patriotism, which today raises the idea of ʻʻEternal Countryˮ. “Babalar sozi” is one of the works that has made a significant contribution to the development of Kazakh culture in the world of spiritual, intellectual and scientific processes. This multivolume series “Babalar sozi” contains all the examples of the very rich and multifaceted spiritual heritage of the Kazakh people, and has special educational value for future generations. The musical creativity of the Kazakh people is closely related to their life, the use of folk songs and poems in the education of the next generation. This made it possible to raise a person with a beautiful, rich spiritual culture.
7
Raimkulova, A. "KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION." BULLETIN 384, no. 2 (April 15, 2020): 185–93. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.58.
Full textAbstract:
At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).
8
Davan, Taya. "Итоги экспедиций Университета Внутренней Монголии в Синьцзян: полевые записи песен «Джангара»." Монголоведение (Монгол судлал) 13, no. 1 (April 26, 2021): 120–33. http://dx.doi.org/10.22162/2500-1523-2021-1-120-133.
Full textAbstract:
Introduction. For the first time the Epic of Jangar became known in scientific circles after B. Bergmann published a German account of The Song of the Battle between the Heroes of Jangar and Shara Gyurgyu the Terrible in the early 19th century. Since then, the Jangar had become known in the world as the Kalmyk heroic epic. After the publication of newly discovered songs of the Jangar at the beginning of the 20th century in Mongolia, it became known as a Mongolian epic. In the late 1970s, after publishing numerous songs of the Jangar in China, the epic became known as epic legacy of the Oirats of Russia, China and Mongolia. One of the scientific centers of China which has been actively searching for the Jangar texts for 41 years is Inner Mongolia University. From 1977 to 2018, teachers of the Mongolian Faculty undertook ten scientific expeditions to the Oirat-inhabited areas of Xinjiang. Goals. The article seeks to introduce the history and results of field expeditions to Xinjiang made during 41 years in order to record new songs of the Jangar epic. For the first time in the history of modern Mongolian studies, the paper describes the results of large-scale field works that have been carried out for four decades. During the first expedition in 1977 to Hoboksar, a University teacher Chojinjav managed to meet the prominent Oirat storyteller Yerempil and record six songs of the Jangar epic. In 1978, the expedition already consisted of three researchers and explored Bortala Mongol and Ili Kazakh autonomous prefectures. In those days, over 40 storytellers were identified and 60 songs of the epic were recorded. Each subsequent expedition brought its own results. One of the longest search expeditions took place in 1996, which lasted almost thirteen months and covered the Bortala Mongol, Ili Kazakh and Bayingolin autonomous prefectures, including Tarbagatai district. During that time, the University teacher D. Taya identified more than 40 storytellers and recorded 90 songs of the Jangar. Conclusion. Thus, for four decades, the University of Inner Mongolia was conducting systematic and systematic search works which gave tangible results — names of new talented storytellers-jangarchis were discovered, a huge layer of new and numerous versions of already known chapters of the Jangar were recorded but most importantly — scientific confirmation of the existence of a living epic tradition among the Oirats of Xinjiang was obtained.
9
Burkitbayeva, Sh, and G. Kortabaeva. "FEATURES OF UİGHUR POETRY IN INDEPENDENT KAZAKHSTAN." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 218–25. http://dx.doi.org/10.51889/2020-3.1728-7804.32.
Full textAbstract:
The article deals with the poetry of the Uyghur diaspora living in independent Kazakhstan. First of all, this work is due to the fact that there are very few scientific works in the Kazakh language about the songs, poets and literary figures of the Uyghurs living in the independent Kazakh land. Second, the study aims to introduce ethnic Uyghur songs from the years of independence. The article also discusses the growth and prosperity of the poetry of the Uyghur diaspora, which was formed as a branch of the literature of independent Kazakhstan, the poets and their works. It is revealed that the main theme of the poetry of the fraternal Uyghur diaspora, one of the Turkic-speaking peoples, is developing in the same direction as the themes of Kazakh literature, and excerpts from his poems are given. The article examines the poetry of the Uyghur diaspora from 1991 to the present, when Kazakhstan gained independence, in three stages. It is analyzed that Uyghur poetry develops and continues as a branch of the literature of Independent Kazakhstan in all three stages, both in terms of themes and genres. The article uses materials from the library of the Uyghur Cultural Center in Almaty.Works from the literary fund of the Department of Uyghur Studies of the Institute of Oriental Studies named after Suleimenov and the poets themselves were used.
10
Orda, G., and G. Askarova. "CONTINUITY OF TRADITIONS OF KAZAKH CHILDREN'S LITERATURE." BULLETIN Series of Philological Sciences 75, no. 1 (March 30, 2020): 268–75. http://dx.doi.org/10.51889/2021-1.1728-7804.46.
Full textAbstract:
The article discusses the continuity of the traditions of Kazakh children's literature, which originates from the samples of oral literature. Regardless of the age of the literature, it is important to note that writers write works of art for children. One of the main functions of fiction is to educate the reader, and in any work of poets and writers, it is shown with specific examples that they remember this and write valuable things that will bring up Kazakhstani children. A scientific analysis of the artistic and aesthetic achievements of modern children's literature is carried out by analyzing the works of poets and writers who wrote for children, such as B. Zhylkybekovich, S. Duisenbiev, S. Doszhan, R. Sautbay, who learned from the classics of children's literature. The tradition of modern Kazakh children's literature is based on certain subgenres such as counting, riddles, proverbs, songs of lies, fairy tales, legends, stories. Scientific opinions are presented based on the opinions of scientists.
Dissertations / Theses on the topic "Songs, Kazakh"
1
Lutovská, Tereza. "Reflexe identity v literatuře etnických Korejců v Japonsku." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-384196.
Full textAbstract:
This thesis concentrates on literary works written by writers belonging to the resident Korean minority in Japan (zainichi Koreans). Through the use of postcolonial methodology, this work attempts to monitor the development and changes in the complex concept of "identity" in works written between the 1960s and 2010. The thesis is divided into two major parts. The first, theoretical part, explains the birth of the minority, the conflicts that influenced it and the changes it went through during its history. Postcolonial methodology is also explained, with focus put on the parts that are relevant to Japan. The second, practical part of the thesis, shortly explains the history of zainichi literature and then concentrates on five important postwar resident Korean writers - Ri Kaisei, Kin Kakuei, Yi Yang-ji, Kaneshiro Kazuki and Yu Miri. It analyzes between one and four works by each author and attempts to identify changes in the perception of "identity". It also takes into account female characters and the way they are portrayed by the authors and also the language the book is written in, focusing on whether the author chooses to incorporate the Korean language into the text.
Books on the topic "Songs, Kazakh"
2
Tȯlepbergenūly, Nūrtan. Ădemi qyz: Qazaqtyn︠g︡ tan︠g︡dauly 100 khalyq ăni. Almaty: Telarna, 2005.
Find full text
5
Dávid, Somfai Kara, Csáki Éva, and Pokoly Judit, eds. Kazakh folksongs: From the two ends of the steppe. Budapest: Akadémiai Kiadó, 2001.
Find full text
6
Smaĭlova, A. T. Qazaq ănderī zhăne khalyq kompozitorlarynyn︠g ︡ ănderī. Almaty: Kochevniki, 2002.
Find full text
8
Zharmūkhamedūly, Mūkhamedrakhym. Aĭtys ȯlen͡g︡derīnīn͡g︡ arghy tegī men damuy: Monografii͡a︡. Almaty: Mūrattas, 2001.
Find full text
10
Erzakovich, B. G. U istokov kazakhskogo muzykoznanii︠a︡: Po materialam russkikh uchenykh XIX v. Alma-Ata: Izd-vo "Nauka" Kazakhskoĭ SSR, 1987.
Find full textBook chapters on the topic "Songs, Kazakh"
1
Salimjan, Guldana. "Lament in an Affluent Era: Cultural Politics of Kazakh Life Cycle Songs in Xinjiang." In Creating Culture in (Post) Socialist Central Asia, 115–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58685-0_6.
Full text
2
Post, Jennifer C. "Place Names and Kazakh Song Making in the Western Mongolian Steppes." In Handbook of the Changing World Language Map, 1–22. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-73400-2_127-1.
Full text
3
Post, Jennifer C. "Place Names and Kazakh Song Making in the Western Mongolian Steppes." In Handbook of the Changing World Language Map, 685–705. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02438-3_127.
Full text
4
Goldsmith, Jack, and Tim Wu. "The Filesharing Movement." In Who Controls the Internet? Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195152661.003.0012.
Full textAbstract:
Some people change history by accident, and Niklas Zennstrom counts as one of them. This soft-spoken and still largely unknown Swede, described by the Washington Post as a “younger, hipper version of Bill Gates,” started two small companies in the early 2000s that have already done much to change how people exchange information in the twenty-first century. His first company created a filesharing software application called “Kazaa” that was destined to become the most downloaded program in history. Millions of people used Kazaa to exchange billions of songs in open defiance of national copyright laws. This chapter chronicles the filesharing movement, in which Zennstrom and Kazaa played a big role. At its height this movement led many to believe that filesharing might upend the central role of national copyright law in the distribution of information. With the benefit of hindsight, we can now see that this was not to be. And so in part, this chapter is a sequel to chapters 5 and 6, showing again the importance of law and national government, even for filesharing—a technology designed to be impossible to control. This chapter also introduces a crucial new theme: the effect of technological change on the market and the legal system. Filesharing introduced a cheaper method of distributing music that sparked massive changes in the economics of music distribution and the behavior of consumers. These changes were a jolt to the copyright law system that seemed to many to render it irrelevant. What appeared a threat to copyright law, however, turned out simply to be the law’s hesitation and adjustment in the face of a massive battle between the recording industry, technological upstarts, and music consumers over the spoils of a better music distribution system made possible by the Internet. As the 1990s ended, the music recording industry’s mood was optimistic. A new and sturdy technology, the compact disc, anchored the best decade of sales ever. A handful of major labels, a textbook oligopoly, exercised near total control over the distribution of music. And while the industry faced considerable expenses in the development and marketing of new artists, existing music cost little to manufacture and could be sold for up to $20 per album. The recording industry was rich, powerful, well-connected in Congress, and uninterested in changing a successful business model.