In Kyrgyzstan, several regional performing schools have developed, each with distinctive stylistic features. In the 20th century, they found their leaders in the form of famous komuz players. The performance style of the Issyk-Kul musicians, "led" by Arstanbek, Murataaly, and Karamoldo, is characterized by philosophical depth and strict style. The komuz players of the Osh school have managed to preserve the ancient, archaic traditions of performance, represented honorably by Niyazaly. The Talas performers, primarily Toktogul and Atai, lean towards virtuosic, brilliant playing. The Naryn school (Mailybay, Kudaybergen, Musa) combines various traits.
The performance classification of Kyrgyz komuz players proposed by S. Subanaliev is based on types of positional technique, which, as mentioned above, plays a significant role in shaping the genre-stylistic appearance of kyuu. These include one-position (N. Boroshev, M. Kureneev, A. Ogonbaev), step-position (Y. Tumanov, Sh. Sherkulov, B. Madazimov), and non-positional, free-passage styles (K. Orozov, T. Kasabolotov). The latter indicates the unwavering improvement of the komuz players' performance technique (with relative stability in the instrument's construction). Moreover, modern performers strive to enrich ancient melodies with diverse positional playing and sound combinations.
We have the names of outstanding komuz players from the 17th to the 19th centuries: Chyngysh-bay, Abaka, Baigabyla, Serkebay, Tayteke, Arstanbek, Tilen, Kudaybergen, Zholbuna, Bokoton, Kydyrake.
Below is a brief overview of the work of instrumentalists from the 19th to the 20th centuries, whose activities are justly regarded as a significant contribution to the traditional musical culture of Kyrgyzstan. These include M. Jamankaraev, K. Belekov, A. Beyshukurov, N. Boroshev, T. Satylganov, K. Orozov, Y. Tumanov, A. Ogonbaev, Sh. Sherkulov, N. Abdrakhmanov.
An outstanding virtuoso performer and author of remarkable works for the komuz was Toktogul Satylganov (1864—1933). He created no less than 50 works in various genres of komuz music: kyuu of song genesis, virtuoso-playing, and large-scale pieces.
Perhaps the most popular work of Toktogul is the kyuu "Toguz Kayryk" (or "Toguz Kayrysh"). As noted by A. Zataevich, Satylganov usually began his performances with this piece. Apparently, the musician attached special significance to this kyuu, as its music is characterized by brightness and festivity. It is associated with a solemn overture, opened by calling "fanfares." The form of the piece is variant-variational. In the performance, for example, by Asylbek Eshmambetov, the theme is actively varied in rhythmic and pitch relations. Internal contrasts in the unfolding of the piece manifest in the alternation of performance techniques — the clattering "tutti" and the unison pizzicato.
It is difficult to establish the number of pieces composed by Toktogul Satylganov — the surviving information about his work is not numerous and detailed enough for this. It is also challenging to distinguish between the kyuu composed by the master himself and the pieces attributed to him, recorded from his students. However, there are several works undoubtedly created by Toktogul — kyuu, based on which one can confidently judge the features of his style.
Toktogul's authorship can be reliably considered for the komuz kyuu "Toguz Kayryk," "Min Kyial," "Kyz Oygotor," "Chon Kerbez," "Bala Kerbez," "Chaykama," and some others.
The compositional and performing style of T. Satylganov generally belongs to the so-called virtuoso-show direction. This is the characteristic of the style we find in the works of A. Zataevich and V. Vinogradov, who recorded his komuz repertoire at the time.
However, this characteristic cannot limit Toktogul's style, as he was a musician of multifaceted talent. His music possesses a wide variety of genre traits. This was noted by A. Zataevich, who, alongside virtuosity and moments of humor, highlighted serious, academic elements of style in the komuz player. "It would be the greatest injustice to consider Toktogul merely a jester," wrote A. Zataevich. "In reality, there is no doubt about the true, profound talent of this old man, which is evidenced by... the interesting composition of his serious numbers...".
Muzoake Jamankaraev (1802—1878). The grandson of Muzoake Jamankaraev was Bayimbet Abdrakhmanov (Togolok Moldo), who later became an outstanding akyn-writer and storyteller.
Kurenkay Belekov (1826—1907)
Aydaraly Beyshukurov (1851 — 1934)
Niyazaly Boroshev (1856—1942)
Karamoldo Orozov (1883—1960)
Ybyray Tumanov (1885—1967)
Atai Ogonbaev (1900—1949)
Shekerbek Sherkulov (1902—1980)
Bolush Madazimov (born 1927)
Chalagyz Isabaev (1937—1991)
Samarbyubyu Toktakhunova (born 1944)
Nurak Abdrakhmanov (born 1947)
