Bashkir folklore as a way to develop speech in preschoolers. Bashkir oral and poetic creativity Bashkir pillar of the Russian Empire Alexander Prokhanov

The Bashkirs created a rich folklore. The works of oral folk art artistically reflect the views of the ancient Bashkirs on nature, their worldly wisdom, customs, understanding of justice and creative imagination.

The epic of the Bashkir people originates in the era of the decomposition of the primitive communal system and reaches its most complete development during the period of feudalism, during the period of unification of fragmented clan groups into large tribal unions in the face of foreign invaders. One of the most perfect forms of the Bashkir folk epic was the form of the heroic poem - kubair. The Kubairs reflected the motives for unification and the idea of forming a single Bashkir nation.

Traditions and legends passed down from generation to generation highlight the history of the people, their way of life, morals, and customs.

Bashkir fairy tales express national traits, life and customs of the people. In fairy tales there are egets (good fellows) and batyrs (brave warriors). They are excellent with a bow, that is, they shoot accurately, do good deeds, and help people.

Bashkir fairy tales evilly ridicule the oppressors of the people: padishahs, khans, bais.

Fairy tales tell about the hard life of the poor and orphans, but most often it is cheerful than sad.

Bashkir fairy tales praise honesty and generosity, condemn the cowardice of those who abandon their comrades in trouble, call for work, study crafts, and teach to appreciate and honor old people.

Heroic tales tell about the fight against monsters, about the trials associated with solving difficult problems. Batyr leaves home to see the world, show himself and find a use for his powers.

Fairy tales tell of various miracles; animals speak in a “human voice” and help in times of trouble. Magic objects can change their appearance and turn into other objects.

Everyday fairy tales tell about the life of the people, their daily works and worries, about the relationships between people (rich and poor, good and evil, and so on).

Comic fairy tales are imbued with good-natured humor; they usually ridicule stupidity. Often in such fairy tales the characters are devils, devas, and witches, who are characterized by causeless cruelty and stupidity.

Bashkir proverbs and sayings reflect the history of the people from ancient times to our time. For example, the proverb-sign “A crow croaks - unfortunately” is associated with the ancient ideas of the Bashkirs that the crow is a prophetic bird that warns people of danger.

The animation of nature is expressed in the saying “The forest is the ears, the field is the eyes.” In the proverb “A lonely man may lose his bow, but a man with family will not lose his arrow,” people express the idea that a person should live in a group. The people used proverbs to condemn biys, mullahs, and officials: “Don’t go to the biy - he will come for you, don’t go to the khan - he will come for your goods,” “Every day is a holiday for the rich, every day is grief and worry for the poor.”

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Introduction

Bashkir oral and poetic creativity is the main form of manifestation of the spiritual culture and ideological and aesthetic views of the Bashkir people until the beginning of the 20th century, extensive in scope and diverse in genres. His nationally original genres vividly reflected the rich inner world, history and life, dreams and aspirations of the Bashkir people. The best epic genres were created by masters of improvised artistic expression, saesengs.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development.

The purpose of this work is to analyze Bashkir oral poetic creativity as the most important element of Bashkir folk art, analyze its main genres, identify the connection between literature and oral poetic creativity and consider the creativity of sesen (using the example of Buranbai Yarkeysesen and Ishmuhammetsesen).

1. BASHKIR ORAL POETIC CREATIVITY. CONNECTION OF LITERATURE WITH ESSENTIAL POETIC CREATIVITY

Bashkir oral and poetic creativity, which in fact was the main form of manifestation of the spiritual culture and ideological and aesthetic views of the people until the beginning of the 20th century, is vast in scope and diverse in genres. In its nationally original genres - in heroic poems (kubairs) and romantic tales, historical songs and baits, fairy tales and legends, ritual poetry and takmaks, proverbs and sayings - the rich inner world, history and life, dreams and aspirations of the Bashkir people were vividly reflected .

The best epic genres were created by nameless masters of improvised artistic expression, saesengs. In their work, the Kubair genre achieved particularly great perfection and unique national poetic originality.

Kubair (kobayir) is the main genre form and folk type of verse of Bashkir heroic tales. Kubairs are typologically close and related, for example, to Russian epics, Ukrainian dumas, Kazakh zhirs, Yakut olonkhos, Caucasian sarts. Professor A.N. Kireev explains the word “kubair” as “a good, glorious song,” i.e. song of worship. And indeed, the main ideological and thematic content of the kubairs is associated with the glorification of the Motherland, native Uraltau, the people and its glorious warriors. The deep social patriotic content of the kubairs, their emotional strength, the words of the sesen about protecting good and castigating evil, their call to the people to defend their native land in battle with enemies gave this epic genre the greatness and power of the mandate-cry of the Motherland, poetic instructions and behests of the ancestors.

In kubairs, perhaps more than in any other genre of oral and poetic creativity of the Bashkirs, the art of eloquence and folk wisdom are revealed. In the old days, yiyyns (public meetings), large celebrations and various holidays were places to test the resourcefulness and skill of the saesens. They often spoke on behalf of the people - tribe, clan, expressed their thoughts and aspirations, the yiyyns unusually increased the social importance of the Kubairs. On their basis, a unique, as if independent, genre of eitesh arose, as did the Kazakh aitys, a poetic competition of sesen.

The deep content of Kubair is achieved by a high and at the same time simple poetic form, its aphoristic sound. Unlike a song, where a semantic connection between the two halves of a stanza is not necessary, in kubair, as a rule, every poetic image, every comparison, parallelism or trope serves as a means of expressing the main idea and forms an organic part of the overall poetic outline. Phenomena or objects are depicted in it carefully, in detail, and therefore a Kubair stanza, even if it consists of one sentence, can include from two to twenty-four or more lines. The smoothness and uniformity of the rhythm, the obligatory rhyming of the lines ensures ease of perception.

One of the peculiarities of Kubairs is the fact that they often use proverbs, sayings, and popular expressions. Some consist almost entirely of aphoristic sayings. The most significant and original heroic tales of the Kubairs are “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khyukhylu”, “Alpamysha and Barsynkhylu”, “Kuzykurpyas and Mayankhylu”, “Kusyakbiy”.

One of the early monuments of the Bashkir epic is the heroic poem about the Ural Batyr (“Ural Batyr”), which expresses the idea of the victory of life over death. The Ural Batyr defeated Death, sacrificing his life in the process: he refused to drink the living water he had obtained with great difficulty and sprinkled it around him to immortalize nature. People built a high mound over his grave, from which, as the poem says, the Ural Mountains were formed, and the remains of the Ural Batyr were preserved in the form of various precious stones, gold, silver and iron.

The thematic conclusion of the poem about the Ural batyr is the legend “Akbuzat”. In the legends “Kuzykurpyas and Mayankhylu”, “Aldar and Zukhra”, “Kusyakbiy”, in contrast to the mythological epic, life, customs, beliefs, traditions of nomadic farming, festivals, and sports competitions are actually depicted. They are filled with deep lyricism, motives of love and fidelity, devotion to each other. In the evolution of the epic traditions of Bashkir folklore, especially in the 18th - 19th centuries, there is a close interweaving and interpenetration of kubair and historical songs and baits. Bashkir baits are usually dedicated to socio-historical events of heroic-tragic or highly dramatic content. For example, in the bait about Kinzakeevo, it is told about the burning of the village of Kinzakeevo (now the village of Petrovskoye, Ishimbay district) by punitive forces. “Bait about the Earth” depicts the invasion of robber royal officials into the Bashkir lands. The artistic expressive properties of baits are determined by the combination of features in them that come from song creativity and written poetry. The simultaneous creation and existence of songs and baits about the same important historical events later turned into a wonderful tradition of Bashkir oral poetic creativity.

Approximately in the XVIII - XIX centuries. An extremely rich and widespread form of folk poetry was finally formed - the song and musical classics of Bashkir folklore. There are a variety of themes and genre forms in this repertoire: from historical classical songs about the Motherland and batyrs (“Ural”, “Salavat”, “Azamat”, “Kakhymtyure”, “Kutuzov”, “Caravanserai”, etc.), canton commanders (“Sibaikanton”, “Kuluykanton”, “Kagarmankanton”), about exiles (kaskyn yyrzary) - such as “Buranbai”, “Biish” to everyday, ritual songs (senley, telek yiry) and excellent songs about women’s lot (“Tashtugai” , “Zulhizya”, “Shaura”, “Gilmiyaza”, etc.).

Among the traditional genres of Bashkir folk song (yyr), uzunkyuy, a treasury of Bashkir folk musical and poetic culture, occupies an outstanding position. Uzunkyuy most deeply and comprehensively expresses the national character of the Bashkir people, their life and struggle for a bright future are clearly reflected. That is why Uzunkyuy is at the same time a national epic: in the past, not being able to capture their eventful history in written form, the Bashkir people sought to reflect it in Uzunkyuy. The embodiment in perfect form of the high thoughts and feelings of the people, the high level of musical and poetic skill and, finally, the living development of traditions in modern conditions, all this allows us to call Uzunkyu a Bashkir folk musical and poetic classic.

In all its types and genres, Bashkir song and musical creativity truthfully reflects the life of the people, their customs and beliefs, thoughts and aspirations. The song both comforted and inspired the person. The song treasury, enriched over the centuries, has absorbed the wisdom and spiritual beauty of the people. The features of the artistic self-awareness of people of the most ancient period are reflected in fairy tales. The Bashkir epic most richly represents fairy tales, fairy tales, everyday tales and stories about animals. Fairy tales reflect man's fear and surprise at the incomprehensible forces of nature, show man's struggle with these forces, and overcoming them. The rich nature of the Urals - the abundance of mountains, forests, waters - could not help but amaze a person’s imagination, and not arouse the desire to find a feasible explanation for incomprehensible phenomena. The main characters of Bashkir magical folk tales are: azhdaha, yukha, div (or diyu, due), peri, gin, myaskiai - evil spirits and creatures hostile to people. Among the positive characters, the winged horse Tulpar stands out - the faithful servant of the fairy-tale hero and the huge bird Samregosh, which saves the hero because he saves her chicks from azhdahi (dragon). The fairy tale tradition has also developed a whole range of magical objects that make it easier for the heroes to perform their exploits.

The most widely used of them are the self-cutting sword, the self-cutting ax, the invisible cap, water, which increases or decreases strength; a comb from which a forest grows; a mirror turning into a lake (river, sea); kurai, from which blood drips if the hero is in trouble, or milk - if the hero is lucky; medicinal herb; clothes that don't wear out; bread that never runs out, etc.

Bashkir everyday tales more fully and directly reflect social life and social relations; they introduce people to bygone times, introduce them to the atmosphere of nomadic life, to the life of hunters and cattle breeders. At the same time, they reflected the wit of the people more clearly, and brought to us their satirical laughter.

The heroes of everyday fairy tales reflect the vital interests of the people in their actions; they act as exposers of untruths. Fairy tales always end with the hero returning to his homeland with victory. The hero’s attitude towards his native land is clearly expressed in the saying: “It is better to be an ultan (outsole) in the homeland than a sultan in a foreign land,” which often serves as the ending of fairy tales from the everyday cycle. This sublime feeling of love for his homeland and longing for it captures the hero the more powerfully the further he goes from his land. So, in one of the fairy tales, the king decided to marry his daughter to someone who would climb to the top of a very high pillar with a glass of water on his head and calmly descend. The hero of the fairy tale fulfilled this condition. He reached the very top of the pillar, the water did not spill from the glass, but tears flowed from his eyes: the hero saw his native land from there, and melancholy and sadness fell upon him.

Characteristic of Bashkir oral folk art are various riddles and kulyamasy (anecdotes). Every significant phenomenon of life found its own unique reflection in riddles. In ancient times, it was forbidden to pronounce certain words. For example, our ancestors believed that if you say the word “bear” (ayyu), then this beast will appear and harm people. Therefore, they called him with a figurative word - “olatai” (grandfather). From such forbidden words and expressions, riddles gradually formed. Kulyamas is one of the genres of folk art: a work with witty content, based on an original event with an unexpected ending, i.e. kulyamas (anecdote) - a short oral story about a funny incident.

The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development.

Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

2. SESEN. BURANBAYARKEY (1781-1868), ISHMUHAMMET (1781-1878).

Sesens are Bashkir folk poets, improvisers and singers. They improvise in the form of a song recitative to the accompaniment of dumbyra.

Sasen competitions were held on yiyyns. Sesens were considered by the people as the most respected personalities. They were not limited to just poetry, but were active public figures: they were keenly interested in the life of the people, always found themselves in the thick of important historical events, and with fiery poetic words they called on the people to actively fight for their spiritual freedom. The kubair “Dialogue of Akmurzysesen and Kubagushsesen” (“Akmyrza sesen menen Kobagosh sesenden eiteshekene”) expresses the social ideal of the sesen: “He does not protect evil, he does not spare the enemy, he loves justice, the grief of the country is on his lips, the joy of the people is in his songs " Some sesen were participants in peasant uprisings on the territory of Bashkortostan, and the poet and improviser Salavat Yulaev was the leader of a large peasant movement. The names of many talented sesen of the 14th-18th centuries, closely associated with the history and spiritual culture of the Bashkirs, have been preserved: Khabrau, Erense, Kubagush, Karas, Mahmut, Baik, Aidar, etc. In the end. 19 - beginning 20th centuries their traditions were continued by Ishmuhammet Murzakaev, Gabit Argynbaev, Khamit Almukhametov, Sabiryan Mukhametkulov, Shafik Aminev Tamyani, Valiulla Kulembetov. In the post-war years, the most popular were the works of M. Burangulov, F. Davletshin and S. Ismagilov, they were awarded the title of people's sesen of Bashkortostan. Nowadays, the sasaeng traditions are being actively revived.

Around the 15th - 16th centuries lived the legendary Khabrau, one of the first Bashkir sesen, whose names have survived to this day. In his improvisations, he glorified his native Urals and called on the people to protect it from foreign invaders. As modern scientists note, the name of the outstanding Khabrausesen was then known from the Urals to Altai.

BURANBAYARKEY(1781-1868)

"Buranbay" is a Bashkir historical folk song called Uzunkyuy. It was recorded in different years in the regions of residence of the Bashkirs S.G. Rybakov, M.A. Burangulov, G.S. Almukhametov, S.Kh. Gabyashi, A.S. Klyucharev, I.V. Saltykov, K.Yu. Rakhimov, L.N. Lebedinsky, F.Kh. Kamaev and others. “Buranbay” was arranged by composers Kh.F. Akhmetov, M.M. Valeev, Rakhimov. The emergence of the song and legends about Buranbai is associated with the name of the folk singer-improviser and kuraist Buranbai Kutusov (Buranbai Yarkeysesen), the yurt foreman of the 6th Bashkir canton (now the village of Stary Sibay, Baymak district of the Republic of Belarus). The song reflected an event in the life of Kutusov, when he, along with his colleague Aisuak Ibragimov, was exiled in 1820 to Siberia on false charges. The melody of the song is masterfully ornamented, the melody has a large range (more than two octaves). The performance of “Buranbai” testifies to the special talent and maturity of the singer and musician. The best performers of “Buranbai” are considered to be M. Khismatulin, I. Sultanbaev, A. Sultanov, S. Abdullin, F. Kildiyarova, M. Gainetdinov. The tune of “Buranbai” was used in Akhmetov’s suite for violin and piano (1940), in the ballet “Crane Song” by L.B. Stepanova (1944).

ISHMUHAMMETSESEN(1781-1878)

Ishmuhammetsesen is a pseudonym, the real name and surname of this sesen is Ishmuhammet Murzakaev. He was born in 1781 in the village of Novo-Balapanovo, Verkhneuralsky district, Orenburg province, now Abzelilovsky district of the Republic of Belarus. He died in 1878 in the same place. Ishmuhammet sesen is an outstanding Bashkir storyteller, singer and kuraist. According to legend, he is the author of the songs “Ringing Valley” (“Sandy Uzek”), “Fugitive Yulty” (“Yulty Karak”), “Buzykaev” and others. In military service he was a kuraist under the head of the 9th Bashkir canton of the Orenburg province Kagarman Kuvatov , as well as under the General Governor of the Orenburg Province V.A. Perovsky.

Ishmuhammet sesen had a great influence on the work of subsequent sesen and kuraists, in particular on Gabitsesen. Sesens of each generation were concerned about the fate of the people, their plight, they called for remaining faithful to the best human qualities developed by the working masses over many generations. Poetic works of oral authors were distinguished by the significance of their content, depth of thought, and apt imagery of language. Some lines from their improvisations subsequently became popular proverbs and sayings. Loving and respecting the creativity of sasen, the people also expressed their attitude towards them in proverbs and sayings. For example, there are such aphorisms:

Hold your tongue in front of your saeseng.

The greatness of the sesaeng lies in his poetic words.

The word sesaeng is for everyone.

One must be able to distinguish the oral poetry of the saesengs from folklore. Folklore - folk oral poetry - is also spread orally. But it does not have a specific author, but is compiled collectively. And in oral literature, the worldview of any individual author - the sesen of the improviser - is clearly expressed.

Conclusion

The oral and poetic creativity of the Bashkir people is the history of this people. It began in ancient times and for centuries it was and is the center of the soul of the people, reflecting the thoughts and aspirations of the people. People never stop their creativity. When there was no written language yet, people created orally. Fairy tales and stories, sayings and proverbs spread from mouth to mouth. They also passed from generation to generation. As they moved from storyteller to storyteller, they were enriched and improved. The works of sasen and individual wordsmiths, spreading among people over the centuries, became the works of the people themselves.

Folklore teaches people how to live. Encourages you to always be honest and decent. Calls to understand the beauty of the world. Teaches you to follow the good example and avoid the bad. Welcomes the greatness of the struggle for the happiness of the people. The continuously developing and enriching oral poetic creativity of the Bashkirs served as a source and breeding ground for national fiction and largely determined its initial development. Oral poetic classics continue to provide aesthetic pleasure today. The living development of the traditions of verbal musical art of the Bashkir people, its exceptional role in the formation and growth of Bashkir culture is evidenced, in particular, by the fact that its entire development proceeds to a large extent on the basis of the widespread use of the richest folklore.

Bashkir sesen folk art

List of used literature

1. Kharisov A.I. Literary heritage of the Bashkir people. Ufa, 2013.

2.Kireev A.N. Bashkir folk heroic epic. Ufa, 2014.

3. Bashkir folk epic. M., 2014.

4. Bashkir traditions and legends. Ufa, 2013.

5. Bashkir folk art. T.1. Epic. Ufa; T. 2. Traditions and legends. Ufa; T. 3. Heroic tales. Ufa; T.4. Fairy tales and tales about animals. Ufa; T. 5. Everyday tales. Ufa; T.6. Comic tales and kulyamyas. Ufa; T. 7. Proverbs, sayings, signs, riddles. Ufa.

6. Bashkir folk tales. Ufa, 2013.

7. Khisametdinova F. G. et al. Native Bashkortostan. Ufa, 2014

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Introduction

Chapter I. The theory of genre classification of folklore works 12

1.1. Definition of the concept of “genre” and its characteristics in folklore 12

1.2. Varieties of genre classification of musical and poetic folklore 20

1.2.1. Combining works of folklore by type of poetry: epic, lyric, drama 21

1.2.2. Ritual and non-ritual genres 26

1.2.3. On the role of folk terms in the genre classification of musical and poetic folklore 30

1.2.4. Types of genre classification based on various criteria 34

Chapter II. Sources on the genre classification of the musical and poetic heritage of the Bashkir people 39

2.1. Issues of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century

2.2. Genre classification of Bashkir oral, poetic and musical creativity in the works of scientists of the first half of the 20th century in 46

2.3. Publications in the field of Bashkir folklore of the second half of the 20th - beginning of the 21st centuries 50

Chapter III. Ritual genres of the musical and poetic heritage of the Bashkir people 69

3.1. Calendar ritual folklore 71

3.3 Children's ritual folklore 78

3.4. Bashkir wedding folklore 83

3.5. Funeral lamentations of the Bashkirs 92

3.6. Recruitment songs-lamentations of the Bashkirs 95

Chapter IV. Non-ritual genres of the musical and poetic heritage of the Bashkir people 100

4.1. Labor songs 100

4.2. Lullabies 104

4.3.Kubairs 106

4.4. Munazhaty 113

4.5. Bytes 117

4.6. Lingering songs “ozonkuy” 124

4.7. Quick songs “kyskakuy” 138

4.8.Takmaki 141

Conclusion 145

List of used literature

Introduction to the work

Folk art has its roots in the invisible past. The artistic traditions of early social formations are extremely stable, tenacious and determined the specifics of folklore for many centuries to come. In every historical era, works coexisted more or less ancient, transformed, and also newly created. Together, they formed the so-called traditional folklore, that is, musical and poetic creativity created and transmitted by each ethnic environment from generation to generation orally. Thus, peoples retained in memory everything that met their vital needs and moods. This was also typical for the Bashkirs. Their spiritual and material culture, inextricably linked with nature, and eventful history are reflected in traditional folklore, including song art.

Any historical event evoked a response in the song and poetic creativity of the Bashkirs, turning into a legend, tradition, song, instrumental melody. The ban on the performance of any traditional song genre associated with the name of a national hero gave rise to new musical genres. At the same time, the names, functional and musical-style features of the songs could be changed, but the theme that excited the soul remained a source of folk inspiration.

Bashkir oral-poetic and musical folklore includes a variety of epic monuments (“Ural-batyr”, “Akbuzat”, “Zayatulyak and Khyukhylyu”, “Kara-yurga”, etc.), songs, legends and stories, tales - Khurafati hikaya, poetic competitions - aitysh, fairy tales (about animals, magic, heroic, everyday, satirical, novelistic), kulyamyasy-anecdotes, riddles, proverbs, sayings, omens, Harnau and others.

The unique song heritage of the Bashkir people consists of kubairs, labor songs and choruses, calendar songs of the annual agricultural

circle, lamentations (wedding, recruitment, funeral),

lullabies and wedding songs, drawn-out songs “ozon kui”, fast songs “kiska kui”, bytes, munazhaty, takmaks, dance, comic, round dance songs, etc.

The national instruments of the Bashkirs include peculiar,

popular to this day: kuray (kuray), kubyz (kumy?), string kumyz (kyl

godfathers?) and their varieties. It also includes “musical” household and household items: trays, buckets, combs, braids, wooden and metal spoons, birch bark, etc. Borrowed musical instruments, and instruments common among the Turkic peoples: whistles made of clay and wood, dombra, mandolin, violin, harmonica.

For more than two centuries, the musical and poetic folklore of the Bashkir people has been purposefully studied by representatives of various scientific directions and the intelligentsia. V.I. wrote about the rich national art. Dahl, T.S. Belyaev, R.G. Ignatiev, D.N. Mamin-Sibiryak, S.G. Rybakov, SI. Rudenko and others.

Admiring the original musical gift of the people, local historian R.G. Ignatiev wrote: “Bashkir improvises his songs and motives when he is alone, especially on the road. He drives past a forest - he sings about the forest, past a mountain - about a mountain, past a river - about a river, etc. He compares the tree with a beauty, wild flowers - With with her eyes, with the color of her dress, etc. The motives of Bashkir songs are mostly sad, but melodic; The Bashkirs have many such motives that another composer would envy them.”

In the field of traditional song folklore of the Bashkirs, many works have been written devoted to individual genres, their regional and musical-style features.

The relevance of research. The dissertation is based on knowledge of folklore and ethnomusicology, which allows the study of song

genres of Bashkir folk art in the relationship of music and words. Separately, melodious and recited genres are considered - kubairs, bytes, munazhaty, senlyau, hyktau, songs-lamentations of recruits, as well as songs with developed melody - “ozon kui”, “kiska kui”, “takmaki” and other genres, which makes it possible to consider Bashkir song creativity in its diversity.

In modern science there are generally accepted methods for studying folk art, in which “the main determinants are connections with a certain era, a certain territory and a certain function” 1 . The work under review uses the main provisions of this theory of classification of song folklore.

Purpose of the study- a comprehensive systematic analysis of the vocal genres of Bashkir folklore, the study of their evolution, poetic and musical-style features in their ritual and non-ritual functionality.

In accordance with this goal, the following are put forward: tasks:

theoretical justification for studying the genre nature of works of oral and poetic musical creativity using the example of folklore of the Bashkir people;

identifying priority areas in the field of research into the genre basis of Bashkir musical and poetic creativity;

determining the origins of the formation and development of genres of musical and poetic folklore of the Bashkirs in the context of traditional social culture;

study of the musical and stylistic features of individual song genres of Bashkir folk art.

Methodological basis dissertation was based on the fundamental works of domestic and foreign scientists devoted to the genre nature of works of folk art: V.Ya. Proppa, V.E. Guseva, B.N. Putilova,

Chekanovskaya A.I. Musical ethnography. Methodology and technique. - M.: Sov. composer, 1983. - P. 57.

N.P. Kolpakova, V.P. Anikina, Yu.G. Kruglova; studies of musicology theorists: L.A. Mazelya, V.A. Zuckerman, A.N. Sokhora, Yu.N. Tyulina, E.A. Ruchevskaya, E.V. Gippius, A.V. Rudneva, I.I. Zemtsovsky, T.V. Popova, N.M. Bachinskaya, V.M. Shchurova, A.I. Chekanovskaya and others.

The dissertation uses achievements in the study of folklore of different peoples. Works on Turkic, Finno-Ugric cultures: F.M. Karomatova, K.Sh. Dyushalieva, B.G. Erzakovich, A.I. Mukhambetova, S.A. Elemanova, Ya.M. Girshman, M.N. Nigmedzyanova, R.A. Iskhakova-Vamby, M.G. Kondratyeva, N.I. Boyarkina. In them, the genre classification of works of folklore is carried out using folk terminology and ritual and non-ritual functionality.

The dissertation is a logical continuation of the study of the musical folklore of the Bashkirs and is based on works on local history and ethnography (R.G. Ignatieva, ST. Rybakova, SI. Rudenko), Bashkir philology (A.N. Kireeva, A.I. Kharisova, G.B. Khusainova, M.M. Sagitova, R.N. Baimova, S.A. Galina, F.A. Nadrshina, R. A. Sultangareeva, I.G. Galyautdinov, M.Kh. Idelbaeva, M.A. Mambetov, etc.), Bashkir folk music (M.R. Bashirov, L.N. Lebedinsky, M.P. Fomenkov, Kh. S. Ikhtisamova, F.Kh. Kamaev, R.S. Suleymanova, N.V. Akhmetzhanova, Z.A. Imamutdinova, L.K. Salmanova, G.S. Galina, R.T. Galimullina, etc.).

An integrated approach to the topic being developed is carried out on the basis of specific historical and comparative typological scientific methods of analysis.

The material for the dissertation was:

folklore expedition recordings made on the territory of Bashkortostan, Chelyabinsk, Kurgan, Orenburg, Perm regions in the period from 1960 to 2003;

3) archival materials stored in the National

library named after Akhmet-Zaki Validi, in the folklore rooms of the Ufa State Academy of Arts, the Ufa Scientific Center of the Russian Academy of Sciences and the Union of Composers of the Republic of Bashkortostan, personal archives of folk music collectors K.Yu. Rakhimova, Kh.F. Akhmetova, F.Kh. Kamaeva, N.V. Akhmetzhanova and others.

In accordance with the stated objectives, it was determined work structure, including an introduction, four chapters, a conclusion, and a list of references.

The introduction outlines the purpose and objectives of the research, methodological basis, scientific novelty and practical significance of the dissertation.

The first chapter reveals the specific features of works of oral song and poetry, their social significance. Folk forms of creativity (unfixed - stored not as material objects, but in the memory of the bearers of the tradition) at a certain stage of development were formed into types of art (music, poetry, dance).

At the species level, there are no specific definitions of the concept “genre”. In most cases, scientists use the term “genus”, borrowed from literary studies, meaning “a way of depicting reality,” distinguishing three major directions: epic, lyricism, drama.

To understand the essence of the genre, it is necessary to point out the main features that allow us to identify the coordinates of a work of musical and poetic art. This problem has been comprehensively studied both in theoretical musicology (L.A. Mazel, V.A. Tsukkerman, A.I. Sokhor, Yu.N. Tyulin, E.A. Ruchevskaya) and in folkloristics (V.Ya. Propp , B.N. Putilov, N.P. Kolpakova, V.P. Anikin, V.E. Gusev, I.I. Zemtsovsky).

The interaction of a number of criteria (functional purpose, content, form, living conditions, structure of poetics, attitude to music, methods of performance) form a genre cliché, on the basis of which

a classification of folk songs is being constructed.

In scientific musicology and folkloristics, various ways of systematizing genres have developed. . Depending on the main determining factor, they can be constructed:

by type of poetry (epic, lyric, drama);

according to folk terminology (“ozon kui”, “kiska kui”, “hamak kui”, “halmak kui”);

by functional features (ritual and non-ritual genres) of folk music;

according to various criteria (thematic, chronological, territorial (areal), national, etc.).

The second section of the chapter is devoted to the analysis of genre classifications used in studies of the song folklore of the Turkic, Finno-Ugric and Slavic peoples.

In ethnomusicology, a division of genres into types of poetry is used, which is used depending on the hierarchical subordination of general and specific features that make up the artistic form of song genres.

In musical and poetic folklore, epic genres reflect the centuries-old history of the people. They are united by the narrative nature of the presentation of the poetic text and the recitative intonation of the chant. The performing process requires the obligatory presence of a sesaeng (singer-storyteller) and a listener.

Song genres of the lyrical kind reflect the psycho-emotional state of a person. Lyrical songs carry a certain generalization of life and convey information not only about the event, but also about the personality of the performer, his attitude to the world around him, thereby reflecting all facets of life (philosophy, feelings, civic duty, mutual influence of man and nature).

The dramatic genre of musical folklore represents a synthesis of arts and includes song genres, accompanied by theatrical, ritual

and choreographic action.

Of interest to folkloristics are the classifications of vocal

genres based on existing folk terms. For example, "o$on kvy"

"Kbiqxakvy"- among the Bashkirs and Tatars, "kay" And "schyr" - among the Kazakhs,

instrumental "/gas" and song "b/r" - y Kyrgyz, "eitesh" - y Bashkir,

Kyrgyz, Kazakhs, "kobayir" - y Bashkir, "dastan" - at Uzbeks, Kazakhs, Tatars.

This classification played a significant role in the development of folkloristics as a science in national schools when studying the song heritage of the Turkic peoples and has not lost its practical significance in our time.

For practical purposes, folklorists at different times used genre classifications based on thematic (T.V. Popova, Kh.H. Yarmukhametov, J. Fayzi, Ya.Sh. Sherfetdinov), chronological (A.S. Klyucharev, M.A. Muzafarov, R.A. Iskhakova-Vamba), national (G.Kh. Enikeev, S.G. Rybakov), regional or areal (F.Kh. Kamaev, R.S. Suleymanov, R.T. Galimullina, E. N. Almeeva) criteria.

The second chapter provides an analysis of handwritten and printed publications from the end of the 19th to the beginning of the 21st centuries, devoted to the issues of genre classification in the field of Bashkir oral song and poetic creativity. The chronological principle of constructing the chapter allows us to trace in the works of local historians, historians, philologists and musicians the degree of development of the problem in the sphere of the genre nature of the song culture of the Bashkir people.

The third and fourth chapters are devoted to the study of the genre basis of the musical and poetic creativity of the Bashkirs, which, depending on the presence or absence of a social and everyday function, is divided into two large groups. In accordance with this, individual ritual (calendar, children's, wedding, funeral, recruitment) and non-ritual genres (kubairs, bytes, munazhat, drawn-out and fast songs, takmaks) are considered.

This classification allows us to explore the rich

song folklore of the Bashkirs in close connection with the social and everyday life, to identify the dramaturgy of rituals, to substantiate existing folk terms (“ozon kuy”, “kiska kuy”, “hamak kuy”, “halmak kuy”, “takmak”, “harnau”, “ Hyktau”, etc.), as well as analyze the musical structure of vocal genres.

In custody dissertation, the results of a study of the genre nature of the traditional song art of the Bashkirs are formulated.

Scientific novelty of the dissertation thing is

various types of classifications in the field of Bashkir folklore are considered (by types of poetry; by folk terminology; by functional, chronological, regional, musical and stylistic characteristics), and on their basis an attempt is made to independently study the genre nature of the song and poetic creativity of the Bashkirs;

The conducted research makes a certain contribution to the development of a genre classification of musical folklore of the Bashkir people.

Practical significance The work is that the dissertation materials can be used to create general works in the field of Bashkir song folklore; for the study of national musical cultures of the peoples of the Urals, Volga region and Central Asia. In addition, the materials of the work can be used in lecture courses (“Musical ethnography”, “Folk musical creativity”, “Folk expeditionary practice”, “History of Bashkir music”, etc.), given in the system of secondary and higher music education in the Volga region and the Urals.

Definition of the concept of “genre” and its characteristics in folkloristics

The English word “folk-lore” is translated into Russian as “wisdom of the people”, “folk knowledge”, folk knowledge. The term was proposed by scientist V.I. Toms in 1846 as a definition of the spiritual culture of the people and to designate works of oral and poetic creativity. The science that studies this area of research is called folkloristics.

Domestic science, considering traditional vocal genres, considers their main features to be: orality of existence, collectivity of the creative process, multivariate embodiment. Works of musical and poetic creativity are distributed only orally from one performer to another, which makes it possible to ensure continuity and continuity of the collective creative act. Academician D.S. Likhachev, considering this phenomenon, pointed out that “in folklore works there may be a performer, narrator, storyteller, but there is no author, writer as an element of the artistic structure itself.” The noted feature suggests variability in interpretation. Passed from mouth to mouth, changing time and place of existence, works of folk music underwent more or less significant transformations due to their improvisational nature.

In addition, folklore has social value, manifested in its cognitive, aesthetic, ideological and educational meanings. However, not all works are truly folk. V.P. Anikin argues that “only a work that has acquired content and form in the process of life among the people can be called folklore - or as a result of repeated acts of retelling, singing...”.

The morphological structure of folklore is also unique, the specificity of which lies in the ability to combine the characteristics of several types of art: music, poetry, theater, dance.2

In domestic science, there are different opinions about the scope of the concept of “folklore” and its structure. Some scientists believe that it includes types of art that have a materially unfixed form of imagery: V.E. Gusev, V.Ya. Propp, S.N. Azbelev. Another group of researchers argues that it includes materially unfixed (music, literature, choreography, theater) and materially fixed types of art: M.S. Kagan, M.S. Kolesov, P.G. Bogatyrev.

According to M.S. Kolesov, for example, works of folk art necessarily carry a practical function, determined by the material side of life. It follows from this that architecture, fine and decorative arts, with a broad interpretation of the word, also belong to folklore.

However, when considering the song genres of folklore, one should pay attention to materially unfixed forms of art.

So, M.S. Kagan believes that folklore has two types: “musical” and “plastic” (or “technical”). They are heterogeneous and include different forms of creativity: verbal, musical, dance [software]. V.E. Gusev argues about the syncretism of folklore.

It seems that folklore is a historically passing art. However, this can be refuted based on the duration of its existence along with professional art. At the same time, folk forms of creativity at a certain stage of development, having overcome syncretism, acquired independence and formed into separate types. And each of them can reflect reality using specific means unique to it. For example, prose is realized in oral poetry, textless music in musical folklore, and ornamental dance in folk choreography.

According to M.S. Kagan, materially unfixed types of art differ according to the principles of speciation: 1) form of existence (temporal, spatial and spatiotemporal); 2) the material used (word, sound, plastic, etc.); 3) type of sign system (figurative and non-figurative).

In this case, the types of folk art (“musical”, “plastic” and “syncretistic”) do not correspond to the principles put forward by M.S. Kagan, since these include forms of folk art that have different temporal and spatiotemporal characteristics, using a variety of materials, as well as figurative and non-figurative types of the sign system.

Let us note that the criterion of syncretism of types of folk art proposed by philologists also cannot be considered as the only possible sign of the morphology of folklore, because syncresis also occurs in professional creativity. Such examples abound in materially fixed and unfixed types of art: cinema - in professional art, architecture - in folk art, theater and choreography - in professional and folk art. Their difference is manifested, according to A.S. Sokolov, in the nature of synthesis. Primary synthesis is in folklore, secondary synthesis is in professional art (return to syncresis or the stage of a new synthesis). Consequently, syncretism is one of the characteristics of folklore, but not its morphology.

Issues of genre classification in the works of researchers of Bashkir folklore of the last quarter of the 19th century

In the second half of the 19th century. The interest of local historians, philologists, ethnographers and musicologists in the rich culture of the Bashkirs, in the problem of recording and systematizing samples of folk musical creativity, increased. Early scientific research in the field of Bashkir folk music was associated with the names of the historian-folklorist R.G. Ignatiev, collectors of Bashkir and Tatar folk songs G.Kh. Enikeev and A.I. Ovodov, Russian musician and ethnographer S.G. Rybakova.

In 1875, the “Notes of the Orenburg Department of the Russian Geographical Society” (issue 3) published an article by archaeologist and ethnographer R.G. Ignatiev “Stories, tales and songs preserved in manuscripts of Tatar writing and in oral retellings among Mohammedan foreigners of the Orenburg province” .

The work is interesting, on the one hand, as a historical and ethnographic study of the region, and on the other hand, it is important for the study of the musical and poetic folklore of the Bashkirs. It retells the content of the songs. R.G. Ignatiev was the first among researchers to make an attempt to determine the musical and poetic features and genre varieties of Bashkir folk songs. The material for the article was samples of Bashkir folk songs recorded by R.G. Ignatiev in Troitsky, Chelyabinsk and Verkhneuralsky districts. The expeditions were carried out by order of the Orenburg department of the Russian Geographical Society from 1863 to 1875.

Of the unpublished handwritten materials of the late 19th century, noteworthy is the collection of the Orenburg teacher G.Kh. Enikeev “Ancient Bashkir and Tatar songs (1883-1893)”.

As musicologist L.P. notes. Atanov, during trips to the Volga region, the Urals, Kazan, Orenburg, Samara, Ufa provinces G.Kh. Enikeev memorized the tunes, recorded the texts, stories and legends of the creation of songs, and A.I. Ovodov gave notations for them.

Subsequently, 114 records by G.H. Enikeev and A.I. Ovodov were edited by folklorist-composer K.Yu. Rakhimov. So, in 1929, a handwritten collection was compiled, which included, along with 114 notations by A.I. Ovodov, 30 recordings of drawn-out folk songs performed by G.Kh. Enikeev and iotized by K.Yu. Rakhimov. The work was prepared for publication in Bashknigtorg.

Classification of songs by G.Kh. Enikeev was carried out taking into account national, thematic and melodic characteristics. On the first, national basis, the collection highlights Bashkir, Tatar, “Meshchera”, “Teptera”, “Turkic” songs.

Based on thematic and melodic characteristics, the songs are divided into nine “categories” (i.e., genre groups): 1) old, drawn-out mournful songs, including historical ones; 2) especially popular everyday songs; 3) popular love songs; 4) wedding songs; 5) ditties (takmaki); 6) songs of praise; 7) satirical songs; 8) soldiers' songs; 9) religious folk songs 4.

However, in the introductory article of the collection G.Kh. Enikeev added an independent group of songs called “plowman’s songs, labor songs.”

For ease of reading the musical material, the author proceeds from the principle of combining national and genre characteristics. For example, the collection contains: Bashkir folk songs - 34, Tatar - 10, “Tepter” - 1, including 10 Tatar wedding songs - 8, “Meshchersky” - 1, “Tepter” - 1, etc.

Justifying this division, G.Kh. Enikeev and K.Yu. Rakhimov point out that “when all the melodies were divided into groups by nationality, it was necessary to classify these melodies according to their content into groups in order to determine how many and what varieties are in the collection for each nationality.”

According to the G.Kh. system Enikeev, not all previously noted genre groups are provided with specific musical examples. Thus, Bashkir folk songs are classified into three “categories” (lingering, everyday, love). In the section of Tatar folk songs, these “categories” are added: wedding, laudatory, satirical, soldier’s songs and ditties (takmaks).

Religious folk songs (bytes, munazhaty) are classified as “Turkic”. About this group of songs by G.Kh. Enikeev wrote: “these poetic works in content and character, as they are also written in the Turkic language with an admixture of Arabic and Persian words, are completely different both in tune and in words from the songs of the Bashkirs and Tatars given in my collection, and therefore , I believe, it would be more appropriate, if desired, to publish them in a separate issue.”

Proposed by G.H. Enikeev’s classification is attractive due to the genre diversity of the collected material and the use of various principles of systematization. In the collection, folklore genres are differentiated according to thematic, aesthetic and social characteristics. The collector also selected the most common songs of the late 19th century: “old lingering mournful”, “especially popular everyday”, “popular love” “categories” and ditties.

It should be noted that the names of the songs given in the table of contents of the collection by G.Kh. Enikeev, written in Latin and Arabic script5.

The joint work done by G.Kh. Enikeeva, A.I. Ovodova and K.Yu. Rakhimova in the field of collecting, studying and promoting Bashkir and Tatar folk melodies has not lost its importance in our days.

Among researchers of Bashkir musical folklore of the late 19th century, the work of the Russian ethnographer, musician S.G. is of greatest interest. Rybakov “Music and songs of the Ural Muslims with an outline of their life” (St. Petersburg, 1897). This was the only publication in Tsarist Russia dedicated to Bashkir folk music.

Calendar ritual folklore

Historical data on the calendar rituals and holidays of the Bashkirs are contained in the works of Ibn Fadlan (921-923), I.G. Georgi, I.I. Lepekhina, S.G. Rybakova. Of particular interest are the works of scientists of the beginning and second half of the 20th century: SI. Rudenko, N.V. Bikbulatova, S.A. Galina, F.A. Nadrshina, L.N. Nagaeva, R.A. Sultangareeva and others.

As is known, the calendar cycle of rituals reflected the annual change of seasons. In accordance with the time of year, this cycle was divided into spring-summer and autumn-winter rituals, and the boundaries between them were conventionally designated by the periods of winter and summer solstice.

The holiday "Nardugan" ("Nardugan") was called among the Bashkirs, Tatars, Mari, Udmurts - "Nardugan", the Mordovians - "Nardvan", the Chuvash - "Nardvan", "Nartvan". The word "nardugan" means the Mongolian "naran" - "sun", "birth of the sun" or indicates the Arabic origin of the root "nar" - "fire".

The winter holiday “Nardugan” began on December 25 and lasted for seven days. Twelve girls, symbolizing the twelve months of the year, organized games in a house specially designated for the holiday and on the street. Participants brought gifts and gifts with them. It was considered a mandatory condition to express good wishes to each other. During the summer “Nardugan” from June 25 to July 5, it was not allowed to slaughter cattle, cut down forest, mow grass, that is, have any negative impact on nature. For the holiday, seventy-seven types of flowers were collected and lowered into the river, awaiting the successful arrival of summer. The New Year holiday “Nauryz” (“Nauruz”) was celebrated on the day of the vernal equinox from March 21 to 22 and had “points of contact with the archaic rituals of the peoples of the East.” At Nauruz, young people, under the leadership of one of the senior organizers, walked around the courtyards, collecting cereals for a joint meal, gifts for the winners of sports competitions, as well as competitions for singers, instrumentalists and sesengs. The blessing of an elderly person (fatiha alyu) was important for the villagers. The most ancient folk holidays of the Bashkirs were called: “Rook Porridge”, “Rook Festival”, “Cuckoo Tea”, “Sabannaya Water”, etc. The return of birds to their native lands was marked by the rituals “KapFa butkaby” (“Rook Porridge”) and “KapFa tui” "("Feast of the Rooks"). The names of the rituals are based on a combination of words: “kapFa” - crow (rook); “bugka” - porridge, “tui” - wedding, feast, holiday, celebration. According to R.A. Sultangareeva, the etymology of the word “tui” means a triumph in honor of nature and man. It follows that the holiday “Karga Tui” should be understood as a symbol of the “birth of a new natural phase.”

The organizers and main participants were women, girls and children. This revealed echoes of matriarchy in the social structure of the ancient Bashkirs. The architecture of spring folk festivals is the same and consists of the following stages: 1) collecting cereals from farmsteads; 2) decorating trees with colored ribbons and scraps of fabric (suklau - to make a tree branchy); 3) preparing ritual porridge from collected cereals; 4) sharing a meal; 5) holding games and competitions, leading round dances, performing ritual songs and dances; 6) feeding birds with ritual porridge. The “treat” was laid out on leaves and stones, and tree trunks were coated with it. The ritual actions of the ritual participants were accompanied by the execution of exclamations, cries, calls and good wishes (ken toroshona telekter).

In the exclamation-cry “Crane”, elements of imitation of bird voices are conveyed by short motivic structures based on iambic rhythmic networks consisting of a combination of short and long beats: JVjJPd,12 When the exclamation-cry is chanted, the last syllable in the word is accentuated.

The end of sowing work was accompanied by rituals designed to influence natural phenomena with the help of incantations, sentences, the performance of chants and the reading of prayers: “Dousing with water”, “Sabana water” or “Rain porridge”, “Expressing wishes”, “Calling fire from a tree” .

The ritual “Calling fire from a tree” (arastan ut CbiFapbiy) was carried out in the summer during a dry year. A maple crossbar was installed between the two posts, which was wrapped once with rope. The ritual participants, holding the ends of the rope, alternately pulled it towards themselves along the crossbar. If the rope began to smolder, rain was expected within seven days. Or the ritual was repeated again.

The most ancient calendar holidays “Iiyyn” and “Maidan” were of great importance in the social structure of the Bashkirs. The etiquette of the holidays required the obligatory invitation of guests, and their drama included: 1) preparation of the area, fundraising; 2) organization of sports competitions; 3) sharing a meal and treating guests; 4) performances of folk singers, instrumentalists, dancers; 5) evening games for youth. Externally similar holidays differed in their functional purpose. “Maizan” (“Maidan” - square) is a celebration of the onset of summer. “Yiyyn”14 (meeting) is the name of a large meeting, a congress of tribes and clans, at which important political and economic issues were discussed, national competitions, games were organized, and traditional competitions of kuraists and singers took place.

Labor songs

One of the oldest genres of oral musical and poetic folklore are work songs, choruses, (khezmet, kesep YYRZZRY hdM

Iamaktara). Performed in the process of work, to achieve a “working rhythm”. The functional significance and organizing role of these genres was considered by domestic researchers: E.V. Gippius, A.A. Banin, I.A. Istomin, A.M. Suleymanov, M.S. Alkin and others. The German musician Karl Bucher noted in his work “Work and Rhythm” (M, 1923) that “where a large number of people gather to work together, there is a need to organize and streamline their actions.” The area of labor songs and choruses can be conditionally divided into three groups: 1) songs-choruses that organize the labor process, requiring simultaneous effort and rhythmically organized action from workers (mill builders, timber raftsmen and others). 2) songs performed in the process of labor. This group is usually called “songs dedicated to work”, since they reflect “not so much the nature of work, but the mood of the performers (those who participate in it) in the context of their way of thinking and attitudes.” 3) work songs of certain professions: shepherds, hunters, carpenters, songs of lumberjacks, timber rafters and others.

Thus, the main function of work songs is to organize work, and joint singing serves as a means of increasing its intensity.

A distinctive feature of labor songs are various intonation and verbal exclamations, shouts: “pop”, “eh”, “uh”, “sak-suk”, “tak-tuk”, “shak-shuk”, etc. Such command words convey “an extremely expressive expression of labor tension and its release.”

It should be noted that the exclamation “pop” is not an artificially added component that helps expand the volume of the chanting (up to 3 bars), but a necessary element of musical construction, since the melody ends on the main pillar of the pentatonic mode (f). The poetic text uses parallel rhyme (aabb), the four-line stanza has an eight-syllable structure.

During the ritual “Tula 6aqt iy” (“Making of felt”), the hostess laid out wool in an even layer on a surface. The other participants covered it with a large piece of cloth and rolled it up. The wrapped felt was then rolled for two hours. In the second part of the ritual, the felt was cleaned of fine wool fluff and dipped in running water and hung to dry. Upon completion of the work, the owners of the house treated the helpers. Making felt required great physical effort from the participants, so all stages of the work were accompanied by comic songs and dances.

One of the most ancient genres of Bashkir oral poetic creativity is kobayyr (kubair). Among the Turkic peoples (Tatars, Uzbeks, Turkmens, Tajiks) the heroic epic is called dastan, among the Kazakhs - dastan or song (zhyr), among the Kyrgyz - dastan, epic, epic poem19.

As scientific research shows, the more ancient name of the epic tales of the Bashkir people correlates with the term “ulen”, and later “kubair”.

According to F.I. Urmancheev, the terms “dastan” and “kyysa” are borrowed from oriental literature and are used “to denote the epic genre of literature and folklore.”

In the works of the Bashkir poet-educator, local historian of the 19th century M.I. Umetbaev’s term “9LEN,” refers to epic works performed in a chant manner. In particular, in 1876 M.I. Umetbaev wrote: “Ulen is a legend, that is, an epic. However, since the strengthening of power and the close relationship of the Bashkirs with neighboring peoples, the songs of “ulena” took shape in four-line rhymes. They sing about love, give praise and gratitude to the guests...” Confirming what has been said, the researcher in one of the publications cites an excerpt from the epic legend “Idukai and Muradym”20 under the definition of “ancient Bashkir ulens”.

Previously, this term was used by local historian M.V. Lossievsky. In one of his works, he mentions the existence of “Ulens” in Bashkir folklore, along with traditions and legends. Scientist folklorist A.N. Kireev suggests that the term was borrowed from Kazakh folklore.

In Bashkir literature and folklore, the poetic part of an epic tale was originally called kubair, in some regions called irtyak (plots with a predominance of fairy-tale elements). The word “kobayir” is formed from the merger of the words “koba” - good, glorious, worthy of praise and “yyr” - song. Thus, “kobayir” is a song of glorification of the homeland and its warriors.

In Russian folklore, there is no consensus on the time of the emergence of the epic monuments: Kubairs and Irtyaks. Researchers A.S. Mirbadalev and R.A. Iskhakov-Vamba, associate their origin with the period of clan society. However, A.I. Kharisov dates the emergence of epic tales “to the times preceding the Mongol conquest of Bashkiria, to the period when signs of feudalism began to clearly manifest themselves among the Bashkir tribes...”. The impetus for the creation of the Kubairs was the historical need to unite disparate tribes into a single nation with a common economy and culture.

The statement of G.B. is of interest. Khusainov about the time of creation of epic monuments of the Bashkir people. In particular, he points out that “... in the Kipchak and Nogai tribes of the Turkic peoples, the concept of “yyr” meant the now used “epic”. Kazakhs, Karakalpaks, Nogais still call their national heroic epics “zhyr”, “yyr”.

It is possible that in the Nogai period (XIV-XVI centuries), the Bashkirs used the term “yyr” to mean epic works, and therefore their performers were popularly called “yyrausy”, “yyrau”.

The early thematic classification of works of the Bashkir epic belongs to A.N. Kireev. The scientist, based on the topic, divided the heroic epic into Irtyaks about warriors, Irtyaks inciting the people against the conquerors, and everyday Irtyaks. Researcher A.S. Mirbadaleva groups epic tales according to “the most important stages in the development of the social consciousness of the Bashkirs”: 1. epic tales associated with the worldview of the ancient ancestors of the Bashkirs: “Ural Batyr”, “Akbuzat”, “Zayatulyak and Khyukhylu”; 2. epic tales telling about the struggle against foreign invaders: “Ek Mergen”, “Karas and Aksha”, “Mergen and Mayankhylu”, and others; 3. epic tales depicting inter-tribal feuds: “Babsak and Kusyak” and others; 4. epic tales about animals: “Kara Yurga”, Kangur Buga”, “Akhak Kola”. Standing apart are the legends relating to the common Turkic epic monuments: “Alpamysha and Barsynkhylu”, “Kuzykurpes and Mayankhylu”, “Tahir and Zukhra”, “Buzeget”, “Yusuf and Zuleikha”.

Bulletin of Chelyabinsk State University. 2014. No. 26 (355). Philology. Art history. Vol. 93. pp. 108-114.

MAGICAL FOLKLORE OF BASHKIR: SPECIFICITY AND MYTHORITUAL FEATURES OF THE REPERTOIRE

The place and functions of the genres of magical folklore in the system of traditional culture are considered; history of study. The main semantic, functional, mythological features of such ancient genres as Harnau, Arbau, Telak, etc. are revealed, and the most universal method of analysis is proposed, which allows us to reveal the most ancient layers of consciousness and worldview of our ancestors.

Key words: magical folklore, spells, chants, sentences, shaman, bucks, complexity, syncretism, myth, ritual.

The art of folk literature is entirely based on magical beliefs in the power and power of the word. The man of antiquity knew and appreciated the measure, time, and possibilities of the special potentials of this code, to the help of which he resorted, deeply believing that to say is to do. The word was the main instrument of all life activities, including receiving and protecting health, as well as achieving good luck and developing creative talents. The magic of the word acquired artistic functions in epics, fairy tales, legends, songs, traditions, proverbs, baits, munajats, responding to the aesthetic and spiritual needs of the people. Having practical purposes, special functions and purposes for the influence of words, they form a spell-casting repertoire of appeals as sacred ways of contacting deities, supernatural forces and the elements of Nature. The creators and transmitters of this secret knowledge to generations were especially gifted people with extraordinary abilities to master the Word, action, chants, body movements and the system of ancient teachings, that is, shamans, among the Bashkirs - bucks, as well as among the Kazakhs, Kyrgyz, Turkmens1. Created during centuries of service to fellow tribesmen, the unique creativity of baksy provides for the syncretic unity of mythological, cult, totemistic ideas about time, place, space, as well as a clear logic of cause-and-effect guidelines and practical goals for achieving the desired result. Against this background, the main purpose of the Bashkir baksy is revealed - establishing contacts with higher, heavenly powers, propitiating deities, whose patronage contributes to the healing of the sick, favorable

significant weather changes, expelling the spirit of misfortune and calling on the forces of good. In the system of similar traditions (Siberian, Turkic-Mongolian shamanism), the Bashkir institute of baksy, as an analysis of the materials shows, is distinguished by a pronounced rational-intellectual principle, the dominant nature-worshipping motives, sedateness and proportionality of actions and words.

Genres of folk art based on the sacralization of words, body movements, elements, objects, as well as the targeted use of mythological, supernatural knowledge aimed at ensuring the well-being and protection of the physiological, spiritual forces of an ethnic group, represent magical folklore. In a broad sense, the magical principle is contained in all genres of folklore, because the creation of myths, holidays, rituals, fairy tales, epics and so on. provides for influencing the will of deities, the forces of Nature, appeasing the spirits of ancestors, batyrs (demiurges) and acquiring well-being. The process of transferring ancient knowledge as ancestral values had its own strict standards and regulations. Thus, telling fairy tales (ekiet), karhYZ (myth, epic among the Bashkirs) during the day or summer provokes a very cold and long winter (Beloretsky district, Zuyak village), is fraught with the wrath of powerful spirits, severe drought (Khaibullinsky district, with Akyar; Beloretsky district, Birdigulovo village), incorrect performance of the ritual (yola) - prolonged rains up to floods or epizootics (Abzelilovsky district, Askarovo village; Kugarchinsky district, Khudaiberdino village). Verbalized myth and ritual, by their existence, act as prototypes for regulating life events, health and art. At one time, telling the karkhYza-myth “Ural Batyr” treated people with seizures (ennengen) who had lost their minds.

dock or weakened (Recorded in Askinsky, Beloretsk, Zianchurinsky districts), etc. Thus, magic and the magical are present in all models of folk knowledge, forms of creativity and etiquette due to the factors of time embedded in them, centuries-old continuous cultural tradition and powerful intellectual generational potential.

Magical folklore in its narrow, “specialized” understanding is represented by genres and genre forms that are functionally related to their intended use in rituals, healing, and sacred acts. For example, in a state of deep stress, women who were speechless were taken out into the field and hit on the cheeks, forcing them to scream, while uttering special words and making body movements (Zianchurinsky district, 1998); the evil eye, snake bite, damage, etc. were spoken with a recitative-singing word. This fund of archaic knowledge, having disowned ritual complexes, was preserved in time and practice of use due to the formulaic nature of word forms and thought forms, the long need for practical application and the continuity of the creativity of folk professionals - healers, seers, bucks. This repertoire includes prose and poetic incantations (arbau), invocations (satafuu) of rain, wind, kut, sun, etc., harnau (appeals to the spirits of ancestors, forces of Nature, deities). A special part of magical folklore consists of sentences (eytemse), sayings (eytem), signs (yrym), interpretations of dreams and events, fortune-telling-khynau (by bones, stars, stones) methods of folk treatment (im-tom), mainly functioning in the unity of words , actions and tunes. The nature and intentions of these forms of creativity can only be deciphered with complex and multidisciplinary approaches, when purely philological or ethnographic or anthropological aspects of the study, in addition to descriptive ones, cannot provide objective scientific generalizations.

Classical forms of performing the incantatory repertoire combine myth + word + action + partly chant; each of the components is associated with archaic realities that determined the peculiarities of functions, vocabulary, and methods of sending. For a tumor conspiracy, for example, a number of conditions must be met: the chicken egg needed for treatment must be laid on Wednesday, water must be taken before dawn on the waning moon,

the patient is dressed in old clothes, come to the “sessions” hungry, and before and after do not tell anyone about the purpose (the results of healing, especially) of his visit. Manipulations with objects act as a complex, projecting the bright associative, world-contemplative thinking of healers: the disease is “transferred” to an even number of unnecessary things, such as: a broken comb, a needle, lost hair, nails, broken glass, rusty nails, etc.; Throwing out an illness somewhere at a crossroads, they leave without looking back and throw seven (according to the severity of the illness, nine) rods across the road behind them, first consecrating them with prayer - this is how an invisible border is laid between this world and the next. The knowledge about the spirit is noteworthy: thus, parts of the body (nails, hair, etc.), which are the guardians of the partial soul, “carry away” diseases with them, and the deadly symbolism of broken things provokes, according to the logic of the magic of similarity, the same effect; Wednesday in folk beliefs is considered a favorable day for healing acts. The semantic world of therapeutic culture, thus, absorbs ancient knowledge and realities that have gained effective experience over the course of centuries of practice. Algysh (good wishes) and kargysh (curses) have a conspiratorial character, initially providing for the functions of the special influence of the magic of words, as well as the subordination and invocation of good (algysh) or evil (kargysh) forces. Telek (calf) as a good wish is co-semantic with algysh with the difference that the condition of pronunciation telek in the past was associated with sacrifices and even replaced it. The northeastern and eastern Bashkirs still maintain the custom of “telek salyu”.

The ideological concept of imperative appeals of all forms (conspiracies, spells, algysh, etc.) goes back to the idea of the presence of a “master” of spheres, diseases, natural elements, and so on. Ey (owner, owner) among the Bashkirs is consonant, co-semantic with the Altai, Kalmyk “ezi”, Buryat “ezhin”, Yakut “ichchi”2. Success in achieving a goal (disease conspiracy, fishing, hunting, animal spells, elemental invocations, etc.) depends on the skill and art of appeasing the “masters” and establishing “agreements” with them, requiring special sacrifices and the correct use of objects, actions, words with taking into account tribal and local traditions.

Algysh - texts of magical purpose, pronounced in an incantatory form, ascending

They relate to the ancient Turkic ata “to bless”3 and are aimed at increasing productive forces, removing fear and solving certain problems.

The ideological and functional plans of useful magic are predetermined by the depth of knowledge, the level of natural or hereditary talent, a person’s ability to be involved in the movements of the world, and to evoke the patronage of deities. In appeals to the heavenly Tengri, the spirit masters of forests, fields, rivers, the four elements - water, fire, earth, air - and in wishes, the magic of dear words is used. During sowing work, algysh is pronounced - a good wish, the harvest is called upon:

Er! Er! Er! Earth! Earth! Earth!

Kesets bir! Give me strength!

Altmysh arba arpa bir, give me sixty carts of barley,

Etmesh arba eten bir, Give me seventy carts of flax,

Bir! Bir! Give! Give!

Algysh, united in concept and different in functional purpose, contain good wishes, requests for assistance in a successful hunt, travel, fishing, etc. (pronounced before the road, work, marriage). However, in Algysh, unlike Arbau, Kharnau there is no appeal to deities, spirits of disease and the desire to subjugate to one’s will. As in the Yakut, Kazakh algys, Evenki alga4, the Bashkir algysh poeticizes well-wishes, the common features are the absence of hyperbolization and idealization, the image of the result (Donyats matur bulyn! Cauldron bulyn yortots!).

Creativity associated with the magic of the word permeates the entire life of a Bashkir, the basic principles of whose life science from time immemorial have been associated with the worship of living nature, the spiritualization of unearthly and earthly spheres. Hence the diversity of verbal and poetic creativity, which goes back to the sacralization of words, actions, and sound. Pronounced in a certain time, space and place in order to obtain the desired results and appease higher powers, created with the participation of the creativity of a special person of the clan, baksy (imse, bynsy, arbaus), works were formed as cultural texts of magical purposes. The origins of creation and functioning go back to the ancient times of traditions, at the center of which is the baksy (shaman) and his talent and purpose.

The genres of magical folklore of the Bashkirs (spells, spells) became the object of scientific attention in the 19th century. The works of A. Inan describe conspiracies of snakes and birds of prey5. Classifying these genres of Bashkir folk art, one of the first folklorists G. Vildanov classifies them as “im-tom” (folk treatment) and “yshanu” (beliefs), gives examples of spells for diseases of the ears (Tatran), mentions invoking a cat (well-being ) and treatment of tredushia (eisen)6.

The variety of illnesses, illnesses, misfortunes that happen, or the need to regulate labor and life concerns determines the multi-component repertoire of conspiracies, calls, wishes, which predetermined their systematization in the context of ritual folklore7. Magical folklore is traditionally classified according to the functional characteristics and forms of illness (snake, dog, evil eye, fever, etc.), the need to restore health (caring for a child in the absence of speech, walking, illness, etc.), and resolving labor and household concerns. Conspiracies are presented in the greatest systematicity and completeness of descriptions of a diverse repertoire in the work of F. G. Khisamitdinova “Bashkorttarzshch im-tom kitaby” (“Book of Bashkir conspiracies”)8. Magical folklore associated with traditional health care norms is divided into two large parts: 1) conspiracies of childhood diseases; 2) conspiracies of adult diseases. An intra-genre division is made by type of disease (conspiracies for heart, bone, and skin ailments; conspiracies associated with the influence of the machinations of evil spirits). In studies that fragmentarily cover issues of magical folklore, the place and reflection of conspiracies in fairy tales9, prohibitions10, as well as the peculiarities of existence in time and preservation in folklore memory11 are noted.

The scientific and theoretical aspect of studying and highlighting the specifics of the spell repertoire is found in numerous works of folklorists, linguists, ethnographers, according to the profiles of sciences, revealing the features of a complex type of traditional culture. A classification of conspiracies is given according to their functional orientation, covering the ideological basis, their place in the system of genres and their main properties are determined, such as the unity of words and actions, the rhythm of stanzas, and appeal to higher powers, the spirits of ancestors12. Under-

The approaches to classification and systematization of the genre are basically the same; lexical, thematic-structural13, cult-mythological14 features are revealed from different points of view. The vocabulary of healing magic is read in the aspect of a practical system of specific knowledge of ancestors on physiology, anatomy and means of healing15. In the context of shamanic and ritual complexes, the ancient origins, functions, and semantics are explored, and the features of the mythopoetics of conspiracies are revealed16. Some poetic-style, functional and thematic features of spells, forms of creativity of baksy (shamans)17 have been studied, principles and basic motivations, functional features of magical texts have been revealed18. In the numerous works of ethnographer Z.I. Minibaeva, who has been purposefully researching this problem for many years, the system of this knowledge is restored from the perspective of a complex historical, ethnographic, typological characteristics of the activities of healers, traditional medicine is reconstructed as the original school of health care. Using a large amount of factual material, such problems as folk medical terminology, types of healing (pulse diagnostics, bath, herbal, water therapy) are widely covered; the most complete verbal-actional descriptions of diseases and methods of treatment are given in their regional, attributive specifics19.

A brief excursion shows that a comprehensive study of magical folklore in the interrelation and syncretic unity of anthropological, ethnographic, linguo-folkloristic systems, covering ritual integrity and the specificity of the architectonics of healing acts has not yet been done. Because the incantatory repertoire is a complex code of knowledge, the objective disclosure of the intent of which is impossible from a purely philological or ethnographic point of view. The modern folklore approach provides for complexity, when no component is studied in isolation from the other or from only one (lexicological, ethnographic, choreological) point of view. This method allows you to fully and comprehensively reveal the spiritual, intellectual potentials and rational knowledge of ancestors encoded in the texts, not only on physiology, psychology and human anatomy, but also ideas about time, space, place and living Nature in general.

The main symbol in deciphering sacred code texts and ideas is the Word. In the light of Nostratic origins, the deep archaism of the main genre in magical folklore, arbau (conspiracy), is noteworthy, “going back to the general and main meaning of “to conjure””20. The functional orientation of arbau in the Altai, Indo-European, and Uralic languages is associated with the idea of magical influence and has the goals of “plotting evil against someone, being in ambush, using magical powers”21. In this context, the main feature of the conspiracy, distinctive from other genres of magical folklore, is manifested - a strong-willed psychotropic influence on the object, the exclusion of evil by appeasing patron spirits and attracting special secret knowledge and exceptional words.

Conspiracy is a Bashkir arbau, a ritual and magical text created in the process of centuries-old creativity in order to suppress the will of someone and subjugate, change the course of events, brought into action in the direct presence of an object or at a distance. There are healing, love, household, labor, hunting and other conspiracies. Arbau is a sacred ritual act with the participation of a variety of functional components acting in unity and reveals similarities with harnau - archaic forms of appeals to the spirits of ancestors, Nature and connecting word, action, chant. Unlike arbau, aimed at weakening the will and influence of hostile, pathogenic, also invisible and visible forces, harnau also has an appeal to the spirits of ancestors and natural forces. “Sarn” in the Turkic-speaking sphere means the song of a shaman, spells of corruption, snakes, invocations of the wind22 and is consonant with the Bashkir Kharnau, carrying out ideas of similarity of the genre. The structures of text construction in Arbau and Harnau are similar, therefore there are equally functional key points expressed verbally.

The traditional structure and architectonics of arbau, all conspiracies (partly chants) are presented in this way: 1. Appeal to the helper-spirit and calling by name: “Hey spirit! Spirit of water! Or: “Korkot ata! Help! 2. Providing information about yourself (baksy declares his personality, capabilities): “I swam the Irtysh! I swam across the Idel! or “You are a snake, I am a snake stronger than you!” 3. Expression of the reasons that forced one to turn to God

symptoms or description of the disease. “The soul flew away from that (name) person” or “There is an evil eye on that (name) person. We need to treat him." 4. Request and specific description of the purpose of the appeal: “Bring back the kut! Bring back your strength! or “Cure the hernia!”, “Drive away Tatrana.” 5. Volitional influence in order to chase the evil one: “Where you came from, go there!”, “Whoever sent it, return!” 6. The expected result is given as a fait accompli: “He is being healed, he is being healed!”, “Look, he ran away, he ran away!” He disappeared into the field and drowned in the water.” 7. The final word “It was not I who healed - Allah” and gratitude to the spirits, elements, “A scarf for you, health for me!” In this structure, the arbau is mainly built, as well as all conspiracies, varying depending on the goals of the act and the completeness of the healer’s knowledge. Most conspiracies already exist in a truncated form, since due to the weakening of beliefs in spirits, the magic of words (body movements, breathing, objects, etc.), conspiracy acts fall out of practice or survive the introduction of Islamic elements. Thus, the formula for turning to spirits and deities is replaced by asking for and receiving Allah’s blessing to carry out medical and healing procedures. “O Allah, with your knowledge and permission I begin treatment (Yeh, Allam, hinets rizaligshdan them item)”; “Man-reason, You are the healer, help me! (Bende-sebepse, Allah-sikhetse! Yar^am it!)" (Records by the author in the Khaibullinsky, Zianchurinsky, Yanaulsky districts of the Republic of Belarus). The texts contain appeals to the patrons of the clan and often feature Islamic saints. Very rare in conspiracies are the motives of “getting to know” imse and presenting oneself and one’s capabilities. The idea of sacrifice fits into short phrases, such as “A scarf for you, health for me!” Discourses of magical praise (luring) of the enchanted object (“A flowing river is faster than a snake!”) have been reduced or are completely absent. Such features mark the activities and creative features of rural healers imse, arbaus, which still exist in almost every locality.

“Professional” healers now follow the rules of healing magic: they inform the patient of the time, place of treatment and rules (come hungry, do not eat meat for 3 days, etc.): they adhere to the necessary etiquette, ask for help from the “masters” of water, fire, earthly soil, avoid everyday conversation, seek help from Allah, the patrons of the family, improvise functional recitations in accordance with folk

our traditions. Cursing the disease ends with words of expelling evil forces, and at the end of the session they thank the Almighty and, receiving khair, dedicate it to the will of Allah, asking for the benefits of treatment. According to informants, “Ancient man spoke to everything that had a soul. But not everyone is given this gift of craft. Only bucks could carry this out” (Yumash village, Baymaksky district A. Barlybaev, born 1914, Zap. 1993). “There used to be mighty bucks. They shook the world! Sometimes they spoke incomprehensible words with melodies and chants, they jumped and danced!” (village Lagerevo, Salavat district, 1994). Bashkir baksy (ba'kshy, bagyus, bagymsy) - shamans are the creators of harnau and arbau, they had remarkable willpower, voice, and extraordinary abilities granted to them by inheritance. (Due to the limited scope of the article, these testimonies, collected by the author over many years, are mentioned only in fragments). The creativity of the Bashkir baksy (shamans) dates back to ancient times, is associated with nature worship, pagan traditions and the ability to establish contacts with the elements with the help of the Word. Archaic forms of contacts with higher powers and ways of influencing the will of living beings, nature, made by bucks are captured in the repertoire of magical folklore: these are conspiracies of animals, snakes, nicknames of the Sun, rainbow, rain, etc. The discovery and decoding of the semantic world of this code repertoire is associated with the acquisition of the most complete and objective evidence about archaic realities, cause-and-effect connections and artifacts that have long been lost in other cultural texts.

Notes

1 Tokarev, S. A. Early forms of religion and their development. M., 1964.

2 Folklore of the Mongolian peoples. M., 2011. 204 p.

3 Comparative dictionary of Tungus-Manchu languages / rep. edited by V. I. Tsintsius. T. 1. L., 1975.

4 Ertyukov, V.I. The era of paleometals in the North-Eastern Arctic and its role in the genesis of the small peoples of the North // Languages, culture and the future of the peoples of the Arctic. Yakutsk, 1993. P.82-84.

5 Inan, A. Shamanism tarikhta hem begen. Ufa, 1998. 210 p.

6 Vildanov, F. Terek halyktarynyts donyaga borongo dini karashi // Bashkort aimagy. 1926. No. 2. B. 27-38 (ger. gr.).

7 Bashkort halyk izhady. Yola folklore / Abstracts, bash hYZ, atslatmalar authors. E. M. Seleymenov, R. E. Soltangereva. Efe, 1995.223 b.

8 Khisamitdinova, F. G. Bashkortardyts named after Kitaba. Efe, 2006.

9 Khusainova, G. G. Modern folklore of the northern Bashkirs // Materialdary Expedition - 2006: Buraevsky district. Ufa, 2008. 239 p.

10 Gaisina, F. F. Prohibitions as a folklore genre in the traditional culture of the Bashkirs: auto-ref. dis. ...cand. Philol. Sci. Kazan, 2013. 27 p.

11 Yuldybaeva, G.V. Khezerge bashkort halyk izhadynda im-tom // Bashkort folklorynits khezerge torosho. Efe, 2012. pp. 156-163.

12 Galin, S. A. Bashkir folk epic. Ufa, 2004. 320 p.

13 Iskhakova, G. G. Rhythm as the main principle of organization of the spell text // Ural-batyr and the spiritual heritage of the peoples of the world. Ufa, 2011. pp. 203-204.

14 Khusainov, G. B. Ancient Bashkir written monuments // History of Bashkir literature. Ufa, 1990. T. 1 (in Bashkortostan).

15 Karimova, R. N. Khalyktyts donyaga karashyn kyrheteyse syganak bularak halyk medicine lexis // Ural-batyr and the spiritual heritage of the peoples of the world. Ufa, 2011. pp. 208-210.

16 See: Sultangareeva, R. A. 1) Ritual folklore as a subject for reconstruction of the personality, functions and creativity of the bagymsy. Ufa, 1999. pp. 84-107; 2) Arbauzar // Bashkir folklore. Research and materials. V issue Ufa, 2004. pp. 199-215.

17 Baimov, B. S. Creativity of the bucks // Shonkar, 1993. No. 1. P. 28. (in Bashkortostan)

18 Seleymenov, E.M. Bashkort khalkynyts im-tom hem mezzeti yola folklore // Bashkir folklore. Research and materials. Ufa, 1995.

19 Minibaeva, Z. I. Islam and demonological ideas about diseases in folk medicine of the Bashkirs (based on the material of the Kurgan region) // Ethnogenesis. Story. Culture. Ufa, 2011. pp. 162-168; Healing spells in folk medicine of the Kurgan Bashkirs and Altai peoples // Ural-Altai: through the centuries into the future. Ufa, 2008. pp. 149-153.

20 Nafikov, Sh. V. Tamyry ugata borongo bashkort. Mekeleler yiyyntygy. Efe, 2009. 418 b.

21 Dolgopolskiy, A. B. Nostratik dictionariy. Cambridqe, 2008.

22 Abylkasymov, B. Sh. Zhauyn Shakyru // News of the Academy of Sciences of the Republic of Kazakhstan (Kazakhstan). Philology. 1992. No. 3. P. 50-54.

1 Tokarev, S. A. (1964) Early forms of religion and their development], Moskow. (in Russ.).

2 Fol"klor mongol"skih narodov (2011) [=Folklore of the Mongolian people], Moskow, 204 p. (in Russ.).

3 Sravnitel "nyj slovar" tungusko-manchzhurskih jazykov (1975) [=Comparative dictionary Tungus-Manchzhur], Volume 1, Leningrad. (in Russ.).

4 Jertjukov, V. I. (1993) “Jepoha paleometallov v Severo-Vostochnoj Arktike i ejo rol” v genez-ise malochislennyh narodov Severa” [=Epokh of paleometall in the Northeast Arctic and its role in the genesis of small peoples of the North], in : Jazyki, kul "tura i budushhee narodov Arktiki ^Languages, culture and the future of the people of the Arctic], Jakutsk, pp. 82-84. (in Russ.).

5 Inan, A. (1998) Shamanizm tarihta ham begen, Ufa, 210 p. (in Bashk.).

6 Vildanov, F. (1926) Terekhalyxtaryny^ don "jaza boronzo dini xarashy, in: BashKort ajmary, No. 2, pp. 27-38 (geg. gr.) (in Bashk.).

7 Bashxort halyx izhady. Jola fol"klory. (1995), efe, 23 p. (in Bashk.).

8 Hisamitdinova, F. G. (2006) Bashxorttar^yц im-tom kitaby, efe. (in Bashk.).

9 Husainova, G. G. (2008) “Sovremennyj fol”klor severnyh bashkir” [=Modern folklore of northern Bashkirs], in Jekspedicija materialdary - 2006: Buraevskij rajon [=Materials of the expedition], Ufa, 239 p. (in Russ.) .

10 Gajsina, F. F. (2013) Zaprety kak fol"klornyj zhanr v tradicionnoj kul"ture bashkir [=Ban as a folklore genre in traditional culture the Bashkir], Kazan", 27 p. (in Russ.).

11 Juldybaeva, G. V. (2012) "No. 3erge bashKort halyK izhadynda im-tom", in BashKort fol"klorynyq hezerge torosho, efe, pp. 156-163 (in Bashk.).

12 Galin, S. A. Bashkirskij narodnyj jepos [=Bash-kirsky national epos], Ufa, 2004. 320 p. (in Russ.).

13 Ishakova, G. G. (2011) “Ritm kak osnovnoj princip organizacii zagovornogo teksta” [=A rhythm as the basic principle of the organization of the zagovorny text], in: Ural- batyr i duhovnoe nasledie narodov mira [=Urals - the batyr and spiritual heritage of people of the world], Ufa, pp. 203-204. (in Russ.).

14 Husainov, G. B. (1990) “Ancient bashkirskie pis”mennye pamjatniki” [=Ancient Bashkir written monuments], in: Istorija bashkirskoj literatury [=History of the Bashkir literature], Ufa, Volume 1 (in Russ.).

15 Karimova, R. N. (2011) “Halyxtyq donjara ■Karashyn kyrhateYse syrana^ bulara^ halyK medicinahy leksikahy”, in: Ural-batyr i duhovnoe nasledie narodov mira [=Ural-batyr and spiritual heritage of the peoples of the world], Ufa. pp. 208-210. (in Bashk.).

16 Sm.: Sultangareeva, R. A. (1999) Obrjadovyj fol"klor kakpredmet rekonstrukcii lichnosti, funk-cij i tvorchestva bagymsy [=Ceremonial folklore as subject of reconstruction of the personality, functions and creativity of a bagymsa], Ufa, pp. 84107; Sultangareeva, R. A. (2004) "Arbaugar", in: Bashkirskij fol"klor. Issledovanija i materialy [=Bashkir folklore. Researches and materials], Issue 5, Ufa, pp. 199-215 (in Russ.).

17 Baimov, B. S. (1993) “Tvorchestvo baksy”, in: Shonkar, No. 1. p. 28 (in Russ.).

18 Selajmanov, Z. M. (1995) "BashKort halxynyq im-tom ham mejjati jola fol"klory" // Bashkirskij

fol"klor. Issledovanija i materialy [=Bashkir folklore. Researches and materials], Ufa. (in Bashk.).

19 Minibaeva, Z. I. (2011) “Islam i demono-logicheskie predstavlenija o boleznjah v narodnoj medicine bashkir (on materiale Kurganskoj oblas-ti)” [=Islam and demonological ideas of diseases in traditional medicine the Bashkir (on material of the Kurgan region) ], in: Jetnogenez. Istorija. Kul"tura [=Ethnogenesis. History. Culture], Ufa, S. 162-168; Minibaeva, Z. I. (2008) Lechebnye zagovory v narodnoj medicine kurganskih bashkir i altajskih narodov [=Medical plots in traditional medicine Kurgan the Bashkir and the Altai people ], in: Ural-Altaj: cherez veka v budushhee [=The Urals-Altai: in centuries in the future], Ufa, pp. 149-153 (in Russ.).

20 Nafikov, Sh. V. (2009) Tamyry uzata boronzo bash "Kort. Ma^shhr jyjyntyzy. 0fe, 418 p. (in Bashk.).

21 Dolgopolskiy, A. B. (2008) Nostratik dictionary. Cambridqe.

22 Abylkasymov, B. Sh. (1992) "Zhauyn shakyru", in: Izvestija ANRK (Kazakhstan). Filologija, no. 3, pp. 50-54. (in Bashk.).

Bashkir folklore as a way to develop speech in preschoolers. Bashkir oral and poetic creativity Bashkir pillar of the Russian Empire Alexander Prokhanov

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