The heroic epic «Shora batyr» in the folk music by nogay people
The article considers the legend of Shora Batyr in the aspect of preserving the epic “canon” by contemporary performers. The research tasks were to study the preservation of the Shora Batyr epic performing “canon” by the modern narrators and the manifestations of locality in interpreting music and poetic episodes. The material of the research was the archival records of the State Television and Radio Company “Dagestan” and the field records provided by the author of the article in 2014-2016 in the Nogaysky District (the Republic of Dagestan) and Karachay-Cherkess Republic. As a result of the research, there were revealed that modern performers preserve the main elements of the music and poetic stylistics of the epic and the normative correlation of prose narrative episodes (the childhood and heroic deeds of the hero’s father in the Kazan Khanate, Shora’s life in the Crimea) and singing ones (clash with the rulers of the Crimean and Kazan Khanates). There was also revealed the commonality in demarcation of narrative episodes and dialogues of heroes due to a change in the intonation contour, as well as the methods of marking the boundaries of the melodic strophes by the Karanogai and Kuban performers. Locality manifests itself in the principle of the division of the text into tirades during chanting, as well as in the forms of performance of the epic. It is solo or one with instrumental accompaniment by the Karanogais, and solo-group with choir “ezhuv” by the Kuban Nogais.
Nogai heroic epic, Karanogais, Kuban Nogais, Shora Batyr.