Korgool Dosuev (1890—1962) — aakyn-improviser, one of the most talented students of Toktogul. He was born in the Jany-Jol district (now Toktogul district).
Korgool was introduced to music early on through his parents: his father Dosu played the komuz well and was a master instrument maker, while his mother Iphel was a talented koshokchu. At the age of 14, Korgool began performing as a singer with his own repertoire.
A significant role in the creative formation of Korgool Dosuev was played by the well-known komuz player and singer Niyazaly Boroshev, who, upon first meeting the young aakyn, predicted his great artistic future and suggested they embark on a joint tour of the ails and kystaks. This allowed Korgool to learn from the experienced musician the art of playing the komuz. He performed, in particular, Boroshev's instrumental pieces "Nakhalsvo" ("Kara ezgei") and "Kyuu somneniya" ("Arsar kuu").
Korgool was also greatly influenced by Toktogul Satylganov, with whom he first met upon the great aakyn's return from Siberia. Toktogul took the young musician as a student, and he learned many works from his repertoire — both those composed by Toktogul himself and the dastans "Kurmanbek," "Janysh-Bayish," "Kedeykan," and "Narkan."
According to some sources, Korgool Dosuev composed the song "Opoveshchenie" ("Uguzuu") for his first meeting with Toktogul — in it, he informed the exiled aakyn of the death of his son.
From 1917 to 1922, Dosuev was a member of a voluntary partisan detachment under the command of Arstanaly Osmonbekov.
After the revolution, Korgool Dosuev created numerous aakyn recitative songs on various themes. Among them are the autobiographical "My Life" ("Omurum"), the historical "Lenin" and "Response to Kuiruchuk" ("Kuiruchukka zhoop"), the patriotic "My Land" ("Menin zherim"), the satirical "Old Era" ("Eski zaman"), and the lyrical "White Bakai" ("Ak Bakai").
In 1936, at the first All-Kyrgyz Olympic festival of folk musical creativity, Korgool Dosuev successfully performed as an aakyn and komuz player and was awarded a prize.
In 1940, at the suggestion of the famous Kyrgyz poet and playwright Joomart Bokonbaev, Korgool Dosuev was included among the musicians invited to Frunze to record the musical heritage of Toktogul Satylganov. Under Korgool's performance, V. Vinogradov recorded 19 aakyn songs of Toktogul, including two "kerbeza," several lyrical songs, children's songs, humorous pieces, and "aytysh."
Comparing the aakyn art of Korgool Dosuev and Alymkul Usenbaev, V. Vinogradov presented them as opposites: the former, in his opinion, was impulsive and emotional, while the latter was restrained and balanced. At the same time, the researcher emphasized that Korgool, as a performer, was characterized by "enthusiasm for music, the ability for artistic transformation (the skill to create vivid comic, lyrical, heroic, dramatic, and other images), and a flexible voice rich in emotional shades (he managed to sing the highest notes in falsetto)...".
In aakyn genres, Dosuev composed "maktoo yry," "kordoo yry," "kuttuktoo yry," "eskerme yry," and others. The song "Vospominanie" ("Eskereu") was performed by Korgool at the 50th anniversary of Joomart Bokonbaev in 1960 and was later published in a collection of the aakyn's poems titled "Joomartka" ("Joomartu").
In the posthumously published collection of Korgool Dosuev, there is also a poetic text of his "aytysh" with Alymkul Usenbaev. Korgool sang about the glory of Alymkul while modestly leaving the role of a local significance singer for himself. There was a grain of truth in these words: for various reasons, Korgool was unable to move to the capital of the republic.
