Crimean Tatar music is the musical folklore of the Crimean Tatars , which in the 20th century gave rise to the national professional musical culture [1] .
Styles, Genres, and Features
The mountain and steppe styles of Crimean Tatar music are distinguished, which were spread among different subethnics: the songs of the southern coastal and mountain Tatars ( Turkyu ) are more emotional, have elaborate and complex melody and a system of halftones , while the steppe motifs ( yyr ) have a simple melodic structure and diatonic base. Crimean Tatar music is rhythmically characterized by 5-, 7- and 9-partite sizes with the addition of 2- and 3-partial cells [1] .
Composers and performers of folk songs in the mountain Tatars were called ashiki, in the steppes - kedai. Epic songs in Crimean Tatar folk music are represented by bates and poems- destanes (such as, for example, "Kor-oglu", "Edig" and transformed by Asan Refatov into the musical drama " Chora-batyr "). The forced resettlement of the Crimean Tatars, taking place from the end of the 18th century, gave rise to a special genre of historical songs - Mujir Turki and Koch Avasa . In the everyday genre, one can distinguish short song improvisations, called differently (among the steppe Tatars - chyn or ranks , among the mountain ones - mans ), as well as lyrical songs of makyam . Also in folklore there are ritual chants and songs performed during circular dances ( horan ). Instrumental dance music is divided into fast ( kaytarma ) and slow ( agyr ava ) [1] .
Among the traditional folk musical instruments of the Crimean Tatars there are dawul (from the Karaite - “big drum”), dara and dumbel (paired timpani from clay pots with stretched skin) from percussion, zurna , sheepskin zurna and caval from winds, kemancha , saz and Santyr - from strings. At the end of the 19th century, clarinet , trumpet and violin came into musical use, and even later - an electric guitar with an accordion . The traditional instrumental ensemble was called davuljylar and consisted of 2 zurns, davul and gift. The chamber ensemble that accompanied the singing included a gift, a santyr, one or two violins, a clarinet and trumpet (later an accordion) and was called chal or kemanejiler [1] .
Distribution
A. Olesnitsky became the first to systematize and publish folk Crimean Tatar songs at the beginning of the 20th century, then A. K. Konchevsky, M. I. Krasev, A. Refatov, Y. Sherfedinov and I. Bakhshish also did this. Among the use of folk melodies in classical music are the Crimean Sketches for the orchestra and other works by A. A. Spendiarov , East paintings in Glinka’s opera Ruslan and Lyudmila , and Balakirev’s piano fantasy Islamey [1] .
Notes
- ↑ 1 2 3 4 5 Crimean Tatar music // Musical Encyclopedic Dictionary / Ch. ed. G.V. Keldysh. - M .: Soviet Encyclopedia. - S. 280—281. - 672 p. - 150,000 copies. - ISBN 5-85270-033-9 .