Karamoldo Orozov (1883—1960) — a great author and komuz player, whose music has been preserved not only in the folk memory but also in the musical transcriptions of renowned folklorists. In the last decades of his creative activity, he recorded his repertoire on the republican radio.
Niyazaly Boroshev (1856—1942) — a well-known folk author-performer. He was born in the Jany-Jol district of the Osh region. He began playing the komuz at the age of fifteen and was already performing complex kyus such as "Ketbuka," "Taichidan-Taichi," and other pieces. Gradually, he became a true master and entered the circle of professionals of his time, such as Eshmambet Bayseitov, Janibai Kozhekov, and Aydaraly Beyshukurov. His talent was highly appreciated by the
A bright representative of the virtuosic, so-called pop, school of komuz performance was Aydaraly Beyshukurov (1851 — 1934), one of the outstanding komuz players of the second half of the 19th — early 20th century.
Kurenkey Belekov (1826—1907) — a well-known folk author-performer. He was born in the village of Taldy-Bulak on Issyk-Kul in a family of musicians — his father was a kerneichi, komuz player, and choorchu.
Muzooke Jamankaraev (1802—1878) — one of the prominent representatives of Kyrgyz professional folk music in the 19th century. He was born in the village of Kurtka, now in the Ak-Tala district of the Naryn region. Muzooke was a great komuz player — both an author and performer. He was known not only in Ak-Tala and Naryn but also in the Chui Valley.
Komuz is the most popular and beloved musical instrument of the Kyrgyz people. In ancient times, the komuz was played in almost every Kyrgyz yurt, and in the 20th century, it made its way to the grand concert stage. Kyrgyz komuz players perform abroad, drawing the attention of a wide audience and specialists to the unique sound of the instrument and the distinctive genres of komuz kyuu.
The genres of Kyrgyz folk instrumental music have historically developed as specific functional systems, possessing certain properties common with the vocal genre hierarchy. These include belonging to the mass or professional sphere of creativity, to a specific type of artistic activity (public performance, ritual, play, cult act, etc.), and to a particular type of figurative content. At the same time, the genre system of the instrumental tradition has its own specifics.
The folk music of the Kyrgyz has developed over centuries. The traditions of oral folk art remain strong to this day. Kyrgyz folklore vividly and expressively reflects almost all aspects of nomadic life, historical events, and the relationships of the Kyrgyz with their surrounding environment. Modern folk groups in Kyrgyzstan, drawing on such rich material, have many opportunities for creative development.
As is known, the category of self-sounding instruments (idiophones) includes all sound-producing devices in which the source of vibrations is the body itself or part of it, rather than a string, membrane, or column of air enclosed in a channel. In Kyrgyz musical culture, this includes the so-called mouth (lip) komuz of several types, as well as instruments like jingles, bells, rattles, etc.
Kyrgyz folk percussion instruments form a small group. The arsenal of folk percussion instruments consists of three membranophones: dobulbash (in northern Kyrgyzstan — dobulbas), dool, and karsyldak. These instruments are carriers of rhythm, one of the strongest means of artistic influence on humans and animals.
The oldest instruments, which are wind instruments, were primarily given practical significance by the Kyrgyz. They performed signaling functions (calling people to public events, moving herds of livestock), and only later artistic, aesthetic functions (rest, entertainment). In ancient times, instruments of this group were included in ensembles during military battles. The epic "Manas" mentions performers on wind instruments, whose playing made a significant emotional impression on
TOLONBAEV Musa Abdykerimovich
Kyrgyz folk instruments are an essential part of the national artistic culture — both as attributes of musical creativity and as creations of applied art. In modern society, they function in various aspects and situations. They are played solo, as well as in ensembles and orchestras, during home music-making and at public concerts. Music schools, studios, and secondary and higher educational institutions introduce children and youth to instrumental performance or provide opportunities to
TOKOCHEV Kurmanbek Imangazievich
TOYBAEV Nurlanbek Beishembaevich
TOVKEEV Kalibek Duyshenalievich
TISHKOVA Nadezhda Mikhailovna
The creativity of the akyns has been studied since the early years of the establishment of national philology and musicology. For the first time, works of specific akyn genres were recorded by A. Zataevich. His first folklore collection (250 Kyrgyz instrumental pieces and melodies. — Moscow, 1934) contained three musical examples, two of which (No. 120 and 121) were recorded from T. Satylganov. In the second collection, prepared in 1936 but not published during the scholar's lifetime,
SYDYKBEKOV Sabyrbek Tugelbaevich
SULTANALIEV Ashirbek Altymshevich
SULAYMANOV Sherali Toktosunovich
SUDARENKOV Mikhail Ivanovich
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STEBLYANKO Vladimir Ivanovich
SOLTOBAEV Asylbek Moldoshevich
Sogonov Alexander Vasilyevich
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
Tuutanbay Abdiev (born 1937) — akyn-improviser, People's Artist of the Republic (1993), member of the Union of Writers of the USSR (1990). He was born in the village of Ichke-Sai, now in the Uchterek District of the Jalal-Abad Region, in a peasant family. His first singing lessons were given to him by local akyns Sarykunan and Kadyrkul.
Zamirbek Usenbaev (born 1951) — improvisational poet, People's Artist of the Kyrgyz SSR (1968), member of the Union of Writers of the USSR (1990). He was born in Frunze. Zamirbek's father is the famous poet Alymkul Usenbaev, and his mother is a talented folk singer. Zamirbek began performing as a poet at the age of 16. His first independent works are the solo greeting "Salamdasuu Termesi" and a poetic duel with Toktosun Tynibekov.
Estebes Tursunaliev (born 1931) — akyn-improviser, People's Artist of the USSR (1988), People's Akyn of Kyrgyzstan and Kazakhstan (1995), laureate of the Toktogul State Prize, member of the Union of Writers of the USSR (1967). He was born in the village of Kara-Archa, now in the Manas district of the Talas region, in a peasant family. Estebes Tursunaliev's father was a good komuz player, and his mother was a кошокчу and жомокчу (lamenter and storyteller). Even as a fifth-grade
Ashyraaly Aytaliev (born 1927) is one of the contemporary professional akyns-improvisers, a People's Artist of Kyrgyzstan (1995), and a member of the Union of Writers of the Kyrgyz Republic. He was born in the village of Jediger in the Kant district of Chui region. His childhood was spent in difficult conditions during the pre-war and wartime periods. He showed an interest in singing while still a schoolboy. Aytaliev's first steps in creativity were associated with lyrical songs that
Toktosun Tynybekov (1927—1982) — an improvisational poet, kyakist, komuz player, honored artist of the Kyrgyz SSR (1960), member of the Union of Writers of the USSR (1953). He was born in the village of Tegene in the Jany-Jol district of the Jalal-Abad region. After finishing school, he studied at the Karaganda factory and plant vocational school. His acquaintance with Korgool Dosuiev was a turning point in his life. During a joint trip across the republic, Dosuiev shared the secrets of his
Ysmayil Boronchiev (1910—1978) — an improvisational poet, People's Artist of the Kyrgyz SSR (1958), member of the Union of Writers of the USSR (1938). He was born in the village of Alchaluu, now in the Chui region, into a poor family. His songwriting began in 1929, and his first songs were dedicated to social themes: "The First Five-Year Plan" ("Birinchi беш жылдык"), "Good Collective Farm" ("Жакшы колхоз"), "Kyrgyzstan,"
Toktonaaly Shabdanbaev (1896—1978) — a poet-improviser, People's Artist of the Kyrgyz SSR (1958), member of the Union of Writers of the USSR (1958). He was born in the village of Jaiylma, now in the Kant district of Chui region, into a peasant family. He began singing and playing the komuz in the 1920s. In 1936, he participated in the first All-Kyrgyz Olympiad of Folk Musical Creativity, after which the akyn was accepted as a soloist in the Kyrgyz State Philharmonic, where he worked for
Alymkul Usenbaev (1894—1963) — an improvisational poet, komuz player, People's Artist of the Kyrgyz SSR (1939), member of the Union of Writers of the USSR (1938). He was born in the village of Kara-Archa in the Talas region into a poor family. At the age of 12, he became an orphan. By the age of 14, he began to sing and play the komuz, and within about ten years, he was well-known throughout Talas. Toktogul Satylganov highly valued his talent and played a crucial role in his development
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).
Osmonkul Bolebalaev (1888—1967) — improvisational poet, People's Artist of the Kyrgyz SSR (1942), member of the Union of Writers of the USSR (1940).
Barpy Alykulov (1884—1949) — an improvisational poet, singer, thinker, and classic of the folk song and poetic culture, a member of the Union of Writers of the USSR (1947). He was born in the village of Achi in the Suzak district of the Jalal-Abad region (now the same-named area). His father, Alykul, was well-versed in folk creativity.