E. Trembovelskiy

Two examples of national identification of musical objects

The article presents the diverse musical objects in its origins with the identity of Russian and Kazakh music. One of them is characterized by mixing in politonal′nyj counterpoint previously made order with saving their tonality. This invented by Musorgsky reception became widespread in the world musical practice (Ravel, Hindemith, Shostakovich, Prokofiev, Kabalevsky and others) and was originally connected with the Russian composers' school. Another phenomenon captures the peculiar Kazakh and Kyrgyz composers re-creation of «Kyi-songs» (N. Tiftikidi) breeding the illusion of singing during vigorous movement and is associated with centuries-old traditions of the art of the nomadic people in the past. It reveals their poetry in the kinetics of-overcoming space. In this connection, article addressed the issue of people's professional musical culture of oral tradition as one of the most important to musicology and in particular for ethnomusicology. Not having no links initially identified with different eras and cultures represented in the article objects comparable because different special kind of semantic complexity, poly-imagery, resulting from the combination of two or more (usually two) layers of the thematic complex.

Key words

national identification, tonality, Mussorgsky, Kazakh composers, poly-tonality.

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