KazakhMusicUnitPlans:“KozimninKarasi”Performing“KozimninKarasi”withyourensembleaddressesseveralNAfMEstandardsformusiceducation.Inadditiontolearningtheappropriatemusicalcriteriainordertoevaluateandrefinetheirperformance,studentsfromtheUnitedStatesareanalyzingandinterpretingapieceofmusicfromaculturenottheirown.Studentsareconnecting,synthesizing,andrelatingtheirknowledgeofKazakhmusicandcultureinordertopresentaninformedandappropriateperformanceofthepiece.StudentsarerelatingmusicalideasandworksfromtheKazakhculturestotheirownknowledgeandproficiencywithinWesternartmusic,aswellasunderstandingtherelationshipbetweenmusicandcultureinKazakhstan.Belowisanintroductiontothegeography,history,culture,andlanguageofpresent-dayKazakhstan,abriefoverviewofKazakhtraditionalmusic,andashortlistofresourcesforfurtherinformation.Pleasefeelfreetousewhatinformationisappropriateforyourcourseandgradelevel.Linkstoselectedvideosfeaturingperformersofdifferenttraditionalinstrumentsandsingersarealsoincluded.Thesong“KozimninKarasi”isafamousKazakhsong.Itisalovesong,andthetitletranslatesliterallyas“Ohpupilofmyeye.”ThesongisattributedtoAbaiQunanbaiuly,Kazakhstan’smostwellknownculturalicon.Abaiwasapoet,composer,andphilosopherwholivedonthesteppeinthesecondhalfofthe19thcentury.HetranslatedmanyEuropeanandRussianpoet’sworksintoKazakh,includingworksbyGoethe,LordByron,andPushkin.Abai’smajorworkisTheBookofWords(қарасөздері,Qarasózderi),aphilosophictreatiseandcollectionofpoemswhereheencourageshisfellowKazakhstoembraceeducation,literacy,andgoodmoralcharacterinordertoescapepoverty,enslavementandcorruption.Thelyricsto“KozimninKarasi,”alongwithatranslation,arebelow:KozimninkarasiKon’limninsanasiBitpeidiishtegiGashiktikzharasiBitpeidiishtegiGashitikzharasiKazaktindanasiJasy-ulkenagasiBar’demessendeibirAdamninbalasiBar’demessendeibirAdamninbalasi

OpupilofmyeyesMyconsciousdesireIamtornbypassionWithoutendinsideIamtornbypassionWithoutendinside.ThewiseKazakh,Theyouth’selderbrotherHecannotsay“itis”Foroneofmankind’schildrenHecannotsay“itis”Foroneofmankind’schildren

Zhilayin,zhirlayinAgihzipkozmayinAytugakelgendeKalkamaswozdayinAytugakelgendeKalkamaswozdayin.JurektenkozgayinAdeptenohzbayinWozidebilmeimeKwopcoilepsozbayinWozidebilmeimeKwopcoilepsozbayinI.OverviewofKazakhgeography,history,culture,andlanguageGeographyKazakhstanistheworld’slargestlandlockedcountry,andtheninthlargestcountryintheworld.ItisinCentralAsia,withRussiatothenorthandwest,Chinatotheeast,andUzbekistanandKyrgyzstantothesouth.WhilemostofKazakhstanliesontheAsiancontinent,asmallwesternportionisontheEuropeancontinent.

LetmecryandchantpoetryAsoildripsfrommyeyesIwillpreparepreciouswordsTosayatyourcoming.IwillpreparepreciouswordsTosayatyourcoming.LetmemovefromtheheartLetmenotcrosstheseboundsHealsodoesnotknowLetmenotstretchwordsasthese.HealsodoesnotknowLetmenotstretchwordsasthese.

OnethirdofKazakhstan’sgeographyissteppe,alongwithdeserts,taiga,mountains,hills,anddeltaregions.Thesteppeisadryplain,withlargeareasofgrasslands.TheKazakhsteppeisthelargestdrystepperegionintheworld.TheTianShanMountanrangerunsalongthesouthernborderbetweenKazakhstan,China,andKyrgystan.ThecityofAlmaty,thelargestcityinKazakhstanandtheformercapitol,liesadjacenttotheTianShanmountains.Thecurrentcapital,Astana,ismorecentrallylocated,onthesteppe.HistoryKazakhstanhasbeeninhabitedsincethePaleolithic,originallybytheScythians(Eurasiannomads).ArchaeologistsbelievethehorsewasfirstdomesticatedintheKazakhsteppe.Turkicnomads,mainlyCumans,inhabitedtheterritorystartingaroundthe11thcentury.Inthe13thcentury,theregionjoinedtheMongolEmpireunderGenghisKhan.Bythe16thcentury,theKazakhemergedasadistinctgroup,dividedintothreejüz(ancestorbranchesoccupyingspecificterritories).Duringthisperiod,anomadiclifestyleandlivestock-basedeconomywasdominant.TheRussiansbeganadvancingintotheKazakhsteppeinthe18thcentury,andbythemid-19thcentury,theynominallyruledallofKazakhstanaspartoftheRussianEmpire,imposingtheRussianlanguageandmandatingRussian-styleagricultureandasettled,urbanizedlife.Followingthe1917RussianRevolutionandsubsequentcivilwar,theterritoryofKazakhstanwasreorganizedseveraltimes.In1936,itwasmadetheKazakhSovietSocialistRepublic,partoftheSovietUnionandsubjecttoitsmandates.KazakhstanwasthelastoftheSovietrepublicstodeclareindependenceduringthedissolutionoftheSovietUnionin1991.ThecurrentPresident,NursultanNazarbayev,hasbeenleaderofthecountrysincethen,andischaracterizedasauthoritarian.Kazakhstanhasworkedtodevelopitseconomy,especiallyitshydrocarbonindustry,andhasbecomethedominanteconomyinCentralAsia.ThecurrentgovernmentofKazakhstanisaunitaryrepublic.TheonlypresidenttodatehasbeenNursultanNazarbayev.ThePrimeMinisterchairstheCabinetofMinistersandservesastheheadofgovernment.CultureThename“Kazakh”comesfromtheancientTurkicwordqaz,“towander,”reflectingthenomadicculturalheritageoftheKazakhpeoples.BeforetheRussianoccupation,theKazakhshadahighlydevelopedculturebasedontheirnomadicpastoraleconomy.Islamwasintroducedtotheregioninthe8thcentury,slowlyworkingitswaynorthfromTurkestanandfurtherpropagatedbytheGoldenHordeinthe14thcentury.AccordingtoChinesesourceswritteninthe6th-8thcenturiesCE,theKazakhshadastrongoralpoetrytradition.Thesecamefromearlierperiods,andweretransmittedbyprofessionalstorytellersandmusicians.Innationalcuisine,livestockmeatsare

preparedavarietyofwaysandservedwithawideassortmentofbreadproducts.Teaisculturallyimportant,asisshubat,fermentedcamel’smilk,andkymyz,fermentedmare’smilk.LanguageKazakhstanisofficiallyabilingualcountry.KazakhbelongstotheKipchakbranchofTurkiclanguagesandisthestatelanguageofKazakhstan.Russianisalsodominant,withequalofficialstatusforalladministrativeandinstitutionalpurposes.In2015,thegovernmentannouncedthattheLatinalphabetwillreplacetheCyrillicalphabetasthewritingsystemfortheKazakhlanguageby2025.EnglishisverypopularandstudentsareencouragedtolearnEnglish,totheextentofEnglish-languageschoolsanduniversity.KazakhGlossaryAruach:thespiritsoftheancestors.Asatayak:idiophonemadefromhooves

Aul:smallvillage,usuallytheseatofaKazakhfeudallord.Bakses:Traditionalspiritualmedic,playedkobyztobanishevilspirits.Dauylpaz:Woodandhidedrum,usedinwarfareandhuntingtoimprovemorale.TheKazakhpeopleuseawidevarietyofdrumsofallshapes,sizes,andmaterials.

Dombra:Kazakhlong-neckedfrettedlutewiththreestrings.Dombraisextremelypopularandthemusiccanbequitevirtuosic.Varietiesinconstruction,shape,andsizearecommon.

Jüz:ancestorbranchesoccupyingspecificterritories.Keruish:Pluckedharpstringinstrument,withmanyvariationsinshapeandnumberofstrings.

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Kobyz:Bowedspikelutewithtwostrings.Thebodyiscarvedofwood,andtheresonatingchamberiscoveredwithleather.Bowsaremadeofhorsehair.Traditionallyusedbyshamansandbaksestohelpaccessthespiritworld,theKobyzwassaidtohavethepowertotransformitselfintootherusefulforms,suchasbowls,camels,orhorses.TherearemanytaleswithinKazakhfolklorefeaturingthekobyz.GeographicalvariantsofKobyzarecommon.

Konyrau:multiplesmallbells,madefrombrass,silver,orgold,hungfromahandleandshaken.

Kyu:Instrumentalformrevolvingaroundthedombra.

Kyushi:acomposer/performerofkyu.Sal;sere:acomposer/performerofKazakhlyricsong.Sazsyrnai:Ageneraltermforaclayflute.Eachtypehasitsownnamespecifictogeographicregion,use,material,andperformancetechnique.Childrenplayedsmallclaywhistles,whichwerefrequentlyshapedlikeanimals.

Shankobyz:Asmallmetalinstrumentplayedusingthemouthasaresonatingchamber.Relatedtothemouthharp,thisinstrumentisoftenusedbychildren.

Sherter:Threestringedpluckedchordophone.Thesherterisplayedlikethedombra,butisconstructedofhide-coveredwood,similartothekobyz.Sherterisoftenplayedtoaccompanytheretellingoffables.

Shyn:Gong,generallymadeofbrassorcopperandplayedwithawoodenmallet.

Sybyzgy:end-blownreedflute

Terme:Improvisedvirtuososongformwithacomplexstructure.

Želdirme:Improvisedvirtuososongformwithacomplexstructure.Žhetygen:7stringedpluckedzitherwithadjustabletuning.

Žyr:Epictalesperformedinarecitativeform.Žyrau:acomposer/performerofžyr.2.MusicinMotionMusicthroughouttheworldhasalwaysmovedaspeoplehavemoved,alongtradeandhuntingroutes,andthroughconflict,intermarriage,meetingsofdifferentculturegroups,socialinteraction,ritual,andsoon.Anytimepeopleofdifferentculturesmeet,thereisanexchangeofideas,andmusicalideasformanimportantcomponentofculture,alongwithlanguage,food,clothing,andspiritualbeliefs.ThemusicsofCentralAsiaarenodifferent.TheSilkRoad,theimportantandinfluentialtraderoutebetweenAsiaandEurope,traversedthesteppes,mountains,anddesertsofCentralAsia,carryingnotjusttradegoodsbutmusicalpractices,ideas,andinstrumentsbackandforth.CentralAsianculturesadoptedthemusicofotherculturesintotheirownrichmusicalheritage,adaptingittolocalneeds,uses,andaestheticpreferences.3.TraditionalKazakhMusicTraditionalKazakhmusiccanbedividedintotwocategories:instrumentalmusic,kyu,performedbysoloists,andvocalmusic,categorizedbysubjectandfunction.Kyuweretypicallyprogrammaticandtitlesoftenrefertospecificstories.Vocalmusicisanimportantpartofceremonies,suchasweddings,andfeasts.Epicsongsconsistedofandtaughttriballore,history,andgenealogy.Lovesongs,didacticverses,andsongssungindialogue,(aitys)thatareoftencomicorextremelyfrankandearthyintheircontent.Kazakhmusicianofalltypeswerehighlyeducatedandwereobligedtohavemasteredspeechandorganizationalabilitiesinadditiontotheirmusicaldemands.SingershadadeepknowledgeofcurrenteventsandthehistoryandgenealogyoftheKazakhtribes,aswellastriballegends,rituals,andthelivesandcompositionsofpastmusicians.MusiciansoftenknewtheKoran,andwerewellversedinArabicand

Persianpoetry.Socialconsciousnessandpoeticexpressionwerepreservedandpassedonbykyushi,whoactivelyparticipatedinthesociallivesofthepeople.InKazakhcultures,however,musiciansweremorethanjustbearersofaestheticandsocialvalues:theiractivitieswereperceivedastherepresentationofthesacral.Theshamanlookeduponthebearerofcreativegiftsaschosenrepresentativesofthespirits.1Becauseofthis,thesocialstatusofthemusicianwasveryhigh.Musician’sperformancesweregenerallycombinedwithothersociallymeaningfulformsofinterchange,includingritualhospitality,intertribalcompetitions,rituals,andfeasts.Musicianswereconsideredthemosthonoredguestsatimportantevents,andmusicalperformancewascombinedwitheating,smalltalk,anddiscussionsofnewsandsolutionstoimportantproblems.Inmanyoralmusicalcultures,authorshipofagivenmusicalworkisoftenunknown.InKazakhmusicalculture,however,authorshipisacknowledgedandindividualitywithingenreboundsiscelebrated.Kazakhmusicisunusualinthatmanyindividualcomposersandperformersarewellknown,asaretheircontributionstothemusicallandscapeintermsofstyle,musicallanguage,individualmelodic–rhythmicaspects,andcompositionalthinking.Thisemphasisonacknowledgedauthorshipencouragedvarietywithinaparticularmusician’sworksandthedevelopmentofindividualstylesystems.Atthebeginningofthe20thcentury,halftheKazakpopulationledasemi-nomadiclife,whileanotherquarterlivedpastorally.ThespecialcharacterofKazakhpastorallifeensuredthattownandurbanformsoflifedidnotplayadefiningculturalrole.Around1900,townsinKazakhstanweresmallseatsofcolonialgovernmentandtrade,withonlyaverysmallpercentageofthetown’spopulationbeingethnicallyKazakh.Thus,Kazakhmusicwaswhollyboundtoapastoral,nomadiclifestyle.TheKazakhpeoplesusemanydifferenttypesofinstrumentsdesignedtobeplayedwhileinmotion,generallyfromhorse-orcamel-back.Thestringsofthekobyz,forexample,runataslantfromtoptobottominsteadofbeingperfectlyparallelbetweenthesidesoftheinstrument:thisdesignfeatureensuredtheinstrumentcouldbebalancedonasaddleinfrontofaperformerandleanedtooneside.Kazakhmusic,bothprofessionalandamateur,wasorallytransmitted.Astudentlearneddirectlyfromamastermusician,livingwiththemaster’sfamily.Musicwasoftenpassedalongfamilylines,althoughmusicallearningwasbynomeansrestrictedtoimmediaterelatives.Themusictookrootintheirpastorallife,andfunctionedwhollywithinandwasboundtothatlifestyle.Yet,thereweresmallvillages,aul-s,ofKazakhfeudallords,whichbecamefocalpointsofKazakhintellectual,poetic,andmusicalsociety.

1Muhambetova,68.

Professionalmusicians,bothinstrumentalistsandsingers,wereclearlydifferentiatedbythefunctionsandgenresoftheircreationsorspecializations.Genresofprofessionalmusicarežyr,terme,želdirme,andkyu.

Žyrareepictalesperformedinarecitativeform.Thežyrrepertoireincludesancienttalesaswellasstoriesconcerningcurrenteventswithsocial,political,philosophical,andmoralcontents.Historically,thežyrau,theperformerofthežyr,functionedastheKhan’swisemen,foretellersofthefuture,andmagicianswhoensuredvictoryinbattle,assuringthatthepeoplewereconnectedwiththespiritsoftheancestors(aruach).Withintheircompositions,žyrauconcentratedthehighestsocialandspiritualexperienceoftheoldergenerationsofsociety.Thecomposersandperformersoflyricsongs,salsandseres,typicallyspenttheirtimearoundyoungpeople.Thethemesoflyricsongsrevolvedaroundtopicsimportanttothatagegroup:happinessfoundinloveandcreativework,thebeautyofnature,forcedmarriage,beingseparatedfromlovedones,theirnativelands,orhorses.Asalorserewastheorganizerofentertainmentsforyoungpeople,and,intheirbehaviorandattire,embodiedtheideaofthe“unrestricted”interactionsoftheyouth.Forexample,itwasasociallysanctionednormforasaltofreelyflirtwithyoungwomenwithoutrestrictionsofetiquette,adistinctanddeliberateeroticismthatMuhambetovalinkstolatentremaindersoffertilitymagic.2Termeandželdirmeareformsofimprovisedrecitativesongs.ImprovisedsongsreachedtheirheightinKazakhsocietyduringthe19thcentury.Termeandželdirmearecomplicatedinstructureandbasedandvirtuosovocalandperformancetechniques.Thesegenresrequireastrong,trainedvoicewithawiderange.Kyuisaninstrumentalgenredemandingvirtuosoknowledgeofthedombra.InstrumentalistsinKazakhsocietyweremainlydombraplayers,anddombraremainsavitallyimportantinstrumentandculturalmarkerinmodernKazakhstan.Beforetheperformanceofakyu,anarrativestoryofamythological,historical,epic,oreverydaynaturewouldbetold.Inmostcases,acompositionalandsemanticrelationshipexistedbetweenthenarrativeandthekyu.Thestructureofakyuiscomplex,withmultiplepartsandmaylastfivetosixminutes.Kyushi,composer/performersofkyu,weregenerallyaccomplishedsingersandpoetsaswellasinstrumentalists.Songswerecommonlyaccompaniedbydombra,andasingergenerallyalsohadagoodcommandofdombra.Traditionally,thekobyz(Kazakh:қобыз)orkyl-kobyz,wasnotforentertainment:theinstrumentwastheperviewofshamansandbakses,traditionalspiritualmedics.2Muhambetova,AsiyaIbadullaeyna,“TheTraditionalMusicalCultureofKazakhsintheSocialContextofthe20thCentruy,”TheWorldofMusic37,no.3(1995):67.http://www.jstor.org/stable/41699054.

Accordingtolegends,thekobyzanditsmusiccouldbanishevilspirits,sickness,anddeath,orchangeforminordertohelptheshamanorbakses.Thekobyzisatwostringed,upright,bowedfiddle,withabowlshapedresonatingcavity,whichisgenerallycoveredwithleather.Thestringsandthebowweremadeofhorsehair,andthereisoftenacarvedhorseheadatthetop(wherethescrollwouldbeonaviolin).Therearemanytypesandvariationsofkobyz.ArchaeologistsspecializinginmusicalinstrumentsandorganologistsbelievebowedstringinstrumentsmayhaveoriginatedintheequestrianculturesofCentralAsia.ThekobyzisanancientinstrumentoriginatingwiththeKazakhpeoplesandcloselyrelatedtotheMongolianinstrumentmorinhuur.Kazakh,Turkic,andMongolianhorsemenfromCentralAsiawerelikelytheworld’searliestfiddlers.ItisbelievedthattheseinstrumentseventuallyspreadtoChina,India,theByzantineEmpire,andtheMiddleEast,wheretheydevelopedintoinstrumentssuchastheerhuinChina,therebabintheMiddleEast,thelyraintheByzantineEmpire,andtheesraiinIndia.Theviolin,initspresentform,emergedinearly16thcenturynorthernItaly,wheretheporttownofVeniceandGenoamaintainedextensivetiestoCentralAsiathroughtraderoutesandtheSilkRoad.Theviolins,violas,andcellosweplaytoday,andwhosebowsarestillstrungwithhorsehair,arealegacyofthenomadicpeoplesofCentralAsia.Inthe1930s,whenfolkinstrumentorchestraswerebeingestablishedinKazakhstan,thekobyzwasadaptedbyaddingfourmetalstrings,makingitsimilartotheviolin.ThisadaptationallowedbothKazakhtraditionalmusicandWesternviolinmusictobeplayedonkobyz.TheearlytwentiethcenturywasadifficultperiodfortraditionalKazakhmusic.Atotalitariangovernment,forcedurbanization,famine,disease,war,andemigrationduringthe1920sthrough1940sdecimatedtheKazakhpopulation.By1944,only25%oftheKazakhpopulationremained.3AfurtherblowwasstruckagainstKazakhtraditionalmusicwhentheUSSRgatheredtraditionalmusiciansintourbanareas,formedthemintoWesternizedorchestratypesbycreating“improved”hybridsofKazakhandWesternEuropeaninstruments,withvoicingsbasedonthesymphonicorchestra:forexample,thetwohorsehairstringedkobyzwasgivenfourviolinstringsandviolintunings.ThegovernmentthendeclaredtheseurbanmusicalformstobethehighestachievementofKazakhmusicalculture.Inthisway,traditionalprofessionalismandfolkloreandculturalbearerswereputonalevelofamateurism.Folkmusiciansinthevillagesweredeclarednon-professionalandlosttheabilitytomakealivingwiththeirart.Fromthattimeon,theyhadtoearntheirlivingbyothertradesinordertonotbreakSovietlawofthegeneral“righttowork.”LivingasafreelancemusicianasbeforeSovietrulebecameimpossibleand,inlegalterms,dangerous,asthemusiciancouldbeaccusedofparasitismandimprisoned.Limitationsinfreemovementcausedbyasettledwayoflifeandtherequirementtohavepermanentworklimitedtheinteractionandcommunicationbetween3Muhambetova,70.

musiciansaswellasthetraditionalteacher-pupilsystemoftraining.Familyeducationremainedinplaceasawaytotrainnewmusicians,butcouldnottakeoverthesystemoftrainingyoungergenerationsofmusicians.Villagesstillgavebirthtofinemusicians,who,thankstomassmedia,gainedthepeople’sloveanacclaim,but,onthewhole,thecreativecapacityofKazakhmusicianshipdecreaseddramatically.TraditionalKazakhmusicdidnotvanishcompletely,however.TheWesternized,urbanmusicalformscontradictedtheneedsofthevillagersandthefirstgenerationoftheurbanizedpopulations,while,inbothorganizedconcertsandontheradio,traditionalprofessionalscontinuedtowork.Inthe1970s,concernsregardingthepreservationofKazakhculture,includingmusicandlanguage,wereraised.MusicscholarsbeganstudyingKazakhmusicsandrecreatinginstruments,performancesoftraditionalmusicwereorganized,andyoungurbanmusiciansbegantravellingtovillagestolearnfromoldergenerationsofprofessionalmusicians.Morerecently,Kazakhmusic,generallydombraandthecompositionandperformanceofkyu,istaughtinsomeKazakhschools.4.ModerninfluencesFromthe1920stothe1930s,Kazakhcultureandsocietybeganamasstransitiontoasedentarywayoflife.TherapidgrowthofurbanKazakhcultureintheearlymidtwentiethcenturydividedtraditionalKazakhmusicintotwobranches:urbanandvillage.Thedevelopmentofthosebrancheswentindifferentdirections,butstillcloselyinteracted.Villageandruralmusicwasgrantedprestigebyurbancenters,whilevillageswerethemainconsumersofurbanart.Additionally,themaincontingentofyouthwhoplayedtheurbantypeoftraditionalmusictypicallycamefromthevillages.Inadditiontoincreasingurbanization,thetotalitariancontrolexertedbytheUSSRonthecountry’sculturalprocessesdealtablowtotraditionalKazakhlifestyles.Counteringpoliticalcontrol,socialprescriptionhadgreatinfluenceaswell,andthetwosystemsbroughtabouttheuniquesystemofbalancebetweentheinternal(social)andexternal(political)factorsoftheurbanbranchofKazakhmusic.AfterKazakhstan’sindependence,therewasamarkedresurgenceofinterestinKazakhculture.Newconstruction,notablyinthenewcapitalcityofAstana,celebratesKazakhculturallandscape,whileschoolsareteachingKazakhmusicandlanguagetoallages.SupportforKazakhculturalproductsisstrong,bothfromthegovernmentandamongthepeople.Currently,thereisanefforttorediscoverthetraditionalmusicasithadbeenperformedbeforetheheavyinfluenceofWesternEuropeanmusics.Today,onecanfindtraditionalmusicalformsusedinKazakhpopularmusics,withperformerswearingtraditionalregaliaandperformingtraditionalmusicalforms.MostKazakhyoutharetaughtdombraattheveryleast,anditisasourceofpridetobeamusician.

Videos:KozimninKarasi:https://www.youtube.com/watch?v=HWz0mnTz32wQazaktinHaliqEnihttps://www.youtube.com/watch?v=i3Vz_fHsnZU&index=7&list=RDeYU-IuQTD9UDombra:https://www.youtube.com/watch?v=eYU-IuQTD9UKobyz:https://www.youtube.com/watch?v=m_fRbaysGyUhttps://www.youtube.com/watch?v=LWPDBbE8flYDombrausedinpopmusic:https://www.youtube.com/watch?v=76JqA1EenX0Forfurtherinformation:During,Jean.“Power,AuthorityandMusicintheCulturesofInnerAsia.”EthnomusicologyForum14,no.2:MusicandIdentityinCentralAsia(Nov.,2005):143-164.Kendirbaeva,Gulnar.“FolkloreandFolklorisminKazakhstan.”AsianFolkloreStudies53,no.1(1994):97-123.Muhambetova,AsiyaIbadullaevna."TheTraditionalMusicalCultureofKazakhsintheSocialContextofthe20thCentury."TheWorldofMusic37,no.3(1995):66-83.Post,JenniferC.“'ITakeMy"Dombra"andSingtoRememberMyHomeland':Identity,LandscapeandMusicinKazakhCommunitiesofWesternMongolia.”EthnomusicologyForum16,no.1:MusicalPerformanceintheDiaspora(June2007):45-69.Rancier,Megan.“TheMusicalInstrumentasNationalArchive:ACaseStudyoftheKazakhQyl-qobyz.”Ethnomusicology58,no.3(Fall2014):379-404.