Based on their talent and mastery, akyins are divided into two main categories. The first category includes major improvisational akyins (tekme chots akyn, zalkar akyn). The second category consists of akyins whose improvisational skills are not as developed; they prepare their performances in advance (zhattama mayda akyn, jamakchy akyn). There is also an intermediate level: akyins occupying this level are referred to as "orto," meaning "medium." With focused and systematic work, they can eventually rise to a high creative level.
An akyn can also earn the deserved nickname "ak tazdai" ("true throat") or "zhez tandai" ("copper throat").
Each akyn has their own system of musical-poetic improvisation, their own intonational vocabulary and style of recitation—"terme" (including favorite melodies), and their own manner of singing, which overall reflects their affiliation with a particular regional akyn school.
The grateful memory of the people has preserved the names of outstanding masters of musical-poetic improvisation from the Middle Ages, who themselves became heroes of tales and legends. These include Zhaisaan, Ketbuka, Asan Kaygy, and Toktogul. Moreover, some of their works have survived to this day. The poetic texts of past akyins recorded from Togolok Moldo, A. Ogonbaev, Sh. Sherkulov, and others are kept in the manuscript collection of the National Academy of Sciences of the Kyrgyz Republic.
Major improvisational akyins stand out for their rich poetic gift, good vocal abilities, virtuosity as instrumentalists, and artistry. They belong to several generations.
First Generation: Bekmurat, Sary Yrch, Sokur Kalcha, Naimanbay, Moldo Niyaz, Nurmoldo, Aityke, Naken, Sartbay (dates of life unknown), Kalygul (1785—1855), Balik Kumar uulu (1799—1887), Arstanbek (1840—1882).
Second Generation: At the turn of the century, Chondu (1826—1912), Esenaman (1833—1913), Soltobay (1834—1918), Kalmyrza (c. 1866—1910), Jenijok (1860—1918), Moldo Kylch (1866—1917), Umetaaly Esenaman uulu (1873—1917), Toktogul Satylganov (1864—1933) and his contemporaries Bayimbet Abdrakhmanov, nicknamed Togolok Moldo (1860—1942), Barpy Alykulov (1884—1949), Eshmambet Bayseitov (1867—1926).
Third Generation: Younger contemporaries and students of Toktogul Satylganov — Kalyk Akiev (1883—1953), Osmonkul Bolebalaev (1888—1967), Alymkul Usenbaev (1894—1963), Korgool Dosuev (1890—1962), Abdykalyk Chorobaev (1896—1979), Toktonaaly Shabdanbaev (1896—1978), Ismail Boronchiev (1910—1978), Chalagyz Imankulov (1889—1980), and others.
Fourth Generation actively led a creative life in the last quarter of the 20th century. This includes Toktosun Tynibekov (1927—1982), Estebes Tursunaliev (born 1931), Ashyraaly Aytaliev (born 1927), Tuuganbay Abdiev (born 1937), Zamirbek Usenbaev (born 1951).
According to literary scholar Zh. Tashtemirov, at the end of the 19th and the beginning of the 20th century, about sixty akyins of various levels and categories lived and worked in the Ketmen-Tyubinsk and Talas valleys of Kyrgyzstan.
Before the emergence of modern national writing, i.e., until the 1920s, improvisational akyins were the guardians of the entire Kyrgyz song-poetic culture. When new type writer akyins emerged, representatives of the oral genre continued to create actively. Since the establishment of the Kyrgyz State Philharmonic named after T. Satylganov (1936), akyins have united into a creative group and continue their activities as soloists.
In Kyrgyz akyn art, several regional recitative singing schools have historically developed, reflecting the characteristics of local styles of folk musical-poetic creativity. These styles are in motion and gradually transform. Until recently, approximately until the 1950s-1960s, improvisational akyins from Jalal-Abad region, such as Barpy, Karakurman, and others, performed without the komuz, while in Northern Kyrgyzstan, akyn singing was always accompanied by playing this instrument. By the 1990s, as a result of artistic unification, all Kyrgyz akyins sing accompanied by the komuz. Thus, Taiyrbek Satybaldiev, who initially performed without the komuz, now also sings with his own accompaniment.
A special improvisational school is represented by akyins from the Talas and Chui regions (Toktogul school). This regional akyn school is characterized by brightness, flamboyance, temperament, and virtuosity in performance. Representatives of the Issyk-Kul-Tian-Shan regional akyn school are distinguished by a different, lyrical-contemplative artistic temperament. Among contemporary akyins, a representative of the first of the mentioned schools can be considered the soloist of Kyrgyz State Philharmonic Estebes Tursunaliev, People's Artist of the USSR, laureate of the State Prize named after T. Satylganov, while a representative of the second is another soloist of the same philharmonic, People's Artist of the Kyrgyz Republic Ashyraaly Aytaliev.
A significant place in the history of the development of Kyrgyz improvisational culture is occupied by a large group of akyins whose creativity was mainly formed during the Soviet period. All of them are writer akyins, artists of the Kyrgyz State Philharmonic named after T. Satylganov, which has inevitably influenced their creativity: their poems are permeated with social themes, while the musical style, remaining traditional, absorbed the rhythms and intonations of Soviet mass songs.
Famous Akyins-Manaschi:
Arstanbek Builashov (1840 — 1882)
Jenijok Kokoev (real name Oto, 1860 — 1918)
Toktogul Satylganov (1864—1933)
Eshmambet Bayseitov (1867—1926)
Kalyk Akiev (1883—1953)
Barpy Alykulov (1884—1949)
Osmonkul Bolebalaev (1888—1967)
Korgool Dosuev (1890—1962)
Alymkul Usenbaev (1894—1963)
Toktonaaly Shabdanbaev (1896—1978)
Ismail Boronchiev (1910—1978)
Toktosun Tynibekov (1927—1982)
Ashyraaly Aytaliev (born 1927)
Estebes Tursunaliev (born 1931)
Zamirbek Usenbaev (born 1951)
Tuutanbay Abdiev (born 1937)
