A message on the topic of Bashkir folk ritual folklore. Oral folk art of the Bashkirs

Bashkir folklore was created and passed down orally over generations over the centuries. Its creators and bearers were folk singers and musicians, sesen, yirau, etc. The themes of Bashkir folklore were the views of the ancient Bashkirs on nature, moral ideals, life and aspirations. Folklore was the source of their knowledge. The features of folklore include its oral transmission, improvisational and collective performance, and multivariate nature. The genres of Bashkir folklore are fairy tale, epic, kulyamas, fable, lakap, fable, kulyamas-riddle, boring fairy tale, satire, parable, saying, proverb, riddle, nasikhat, etc. Based on their involvement in the social and everyday activities of people, Bashkir folklore is divided into ritual , children's, etc. The Bashkirs have a rich folklore of songs. Dance, comic, and game songs accompanied the festivities and entertainment. The ditty, baits, became widespread. Many bayits were dedicated to tragic events. This is the “Sak-Sok” bayit, which talks about children cursed by their parents. Small genres of folklore are common, such as chants, sentences, riddles, proverbs, sayings, and omens. Among the Bashkirs' children's folklore, play rhymes, teasers, and sentences are common. One of the oldest genres of Bashkir folklore is considered to be Kubair epics, which can be plot-based or plotless. The most ancient kubairs are the world famous “Ural-batyr”, as well as “Akbuzat”. According to their themes, Kubair epics are divided into heroic and everyday. The Kubair-odes praise the beauty of the native land, which is personified in the images of Ural-Tau, Yaik and Agidel, and glorify the exploits of the legendary batyrs (Muradym, Akshan, Sukan, Sura, Salavat, etc.). Oral folk prose is represented by akiyats (fairy tales), legends, rivayat (traditions), khurafati hikaya-bylichki, khetire (tales and oral stories), as well as kulyamasy-anecdotes. Bashkir fairy tales as an independent type of folk tales. prose (karkhuz) includes tales about animals, magic and everyday life, which in turn have intra-genre varieties. Legends and traditions are based on etiology and are presented as narrations of true stories, although the former are based on fantastic fiction, the latter are stories of a realistic nature. The palette of folklore associated with family and everyday life, in particular, wedding rites, which among the Bashkirs is a multi-stage theatrical action, is distinguished by a great variety and abundance of colors: the first stage - bishek tui (lullaby wedding) is held when the girl and boy whom the parents want see in the future as a wife and husband, reach forty days of age; the second khyrgatuy (wedding of earrings) is held when the “groom” is able to independently mount a horse and control it, and the “bride” can carry water (in this case, the boy gives the betrothed earrings). After these symbolic weddings and the young people reach adulthood, a real wedding is arranged - nikah tuyi (marriage wedding). Until the groom pays the mahar (kalym), it is forbidden to take the bride away, to show his face to his father-in-law and mother-in-law, so he comes to her late in the evening and only on the appointed days. Before seeing off the bride to the groom's house, a sengluu is arranged: the bride's friends and the young wives of her older brothers lament on her behalf, expressing their attitude towards their parents, relatives, groom and mother-in-law. In Bashkir folklore, dual faith can be traced - a combination of pagan customs with the canons of Islam. The influence of Islam was especially strong in funeral rites. In modern conditions, four trends are visible in Bashkir folklore: the existence of traditional genres; revival of the ancient song repertoire and creativity of saesengs; growing interest in national rituals and folk holidays; development of amateur performances.

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 writing, 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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Municipal budgetary educational institution of additional education for children, Palace of Children's and Youth Creativity "Orion" of the city of Ufa, Republic of Belarus.

Research work.

Musical culture of Bashkortostan.

Completed by: Shutanova Ksenia Dmitrievna

Pupil of the association “Teaching the violin”

Head: Kudoyarova Alfiya Askhatovna.

Ufa-2014

Introduction.

The goal of our research is to introduce children to the study of all types and genres of Bashkir folk music, to develop a strong interest in this topic and the ability to independently navigate extensive information, applying the acquired knowledge in practical classes.

Chapter 1 Musical creativity of the Bashkirs.

The musical creativity of the Bashkirs is distinguished by deep antiquity. Data from the ethnic history of the Bashkirs, as well as materials contained in the folklore itself, give reason to believe that the formation of Bashkir folk music into a single figurative, semantic and stylistic system occurred simultaneously with the formation of a single Bashkir nationality from various tribal groups. It is known that constantly developing and changing, musical folklore, however, retains over the centuries such primary elements as intonation, voles, modal and rhythmic formations, and in some cases, individual plots and images. Naturally, the processes of the emerging Bashkir nationality were reflected in the system of means of musical expression in the same way as they were reflected in the language and other elements of the material and spiritual culture of the Bashkirs. The richness and originality of Bashkir musical folklore is largely due to the long process of interaction and fusion of the folklore of the ancient Bashkir people with the musical and poetic forms of the Turkic tribes. This process was so organic and gradual, and the role of the music of the ancient Bashkir tribes was so dominant that by the time the unified Bashkir nation was formed, a rich and diverse folklore had developed, distinguished by its originality and unity of style. Existing in the oral tradition, folk art, naturally, is constantly changing. Individual forms and genres die off, and new ones are born to replace them, bearing features of continuity. This process continues from ancient times to the present day.
Of the genres and forms of folk oral tradition that have evolved and replaced each other over the centuries, relatively few monuments have survived. Moreover, they arrived in an updated, so to speak, modernized form, since passing from generation to generation, genres and forms, along with preserving traditional continuity, also absorb new, more modern features. This process is especially clear in folk poetry, where researchers, comparing and analyzing different versions of one legend, like archaeologists, reveal a number of different time layers in them.

Chapter 2 Bashkir folklore: Irtek and Kubair.

The song and poetic folklore of the Bashkirs, preserved from ancient times, with all its diversity of genres and forms, forms two large groups that have much in common.
One of them includes works of folk art with a predominance of textual and poetic principles. The musical side, if present in them, plays a more or less subordinate role. This group includes the ancient legends “Kuzy Kurpes and Mayan Khylu”, “Alpamysha and Barsyn Khylu”, “Akbuzat” and others, which existed in the form of irteks and kubairs.
When performing a folk epic, some musical and poetic patterns are captured. The developed, poetic text of the Kubairs “speaks out” in a singsong voice. The rhythm of the short, recitative style of the Kubair melody is subordinated to the metric of the seven-syllable “Kubair verse”.
A later epic-poetic genre was byte (bayet). Initially, this was the name for poems of book origin, settled in the memory of the people and passed on from mouth to mouth.
Later, a byte began to be called a poetic work of oral tradition, which is based on a significant, most often dramatic plot, telling about a historical or everyday event, about bright, heroic personalities.
Unlike the genres of irtek and kubair, which are not developing in modern conditions (not a single irtek and kubair on a modern theme has been recorded), byte is a living, viable form of epic that is actively developing. We can say that it essentially absorbed the functions of irtek and kubair and became a living modern form of folk epic. Folklore expeditions annually record more and more new bytes on the topic of the civil war, the partisan movement, and the Patriotic War.
Bytes, like kubairs, are performed in a recitative chant, but the tunes are more varied and individualized, based on a specific melodic cell

Chapter 3 Bashkir folklore: historical songs and tunes.

Another large group of Bashkir folklore, embracing all aspects of folk life, is formed by musical genres. These are primarily historical songs and tunes. They formed as a genre during the heyday of the traditional Bashkir epic and absorbed many features of epic forms. A number of texts of historical songs and legends for instrumental tunes contain themes, images, artistic and structural features of Kubair verse.
The heroic epic is associated with historical songs about the fate of the people, about the unity of tribes and clans, about the harmfulness of ruin and civil strife, about the defense of the homeland ("Ural", "Semirod", "Iskender", "Sultanbek", "Boyagym Khan"). By the legends to the songs, as well as by their specific historical content, one can judge the time of origin of a number of songs. For example, the legend song “Ural” says that the song was composed in honor of the return of the Bashkir ambassadors from the Russian Tsar Ivan the Terrible.
No later than the 18th century. a new layer of historical songs arises in which the patriotic theme of the homeland and national unity is intertwined with angry motives of protest and the fight against oppression and colonization (see songs “Ravage”, “Koloy Canton”, “Tevkelev”, etc.). The lyrics and melodies of such songs are full of drama. They depict images of oppressors and rapists of the people, and express popular hatred.
The theme of homesickness was reflected in the historical songs of this period. The heroes of the songs are very real people who remain in people's memory as brave, disobedient sufferers for a just cause ("Buranbai", "Biish", etc.).
The military theme is also characteristic of Bashkir historical songs, revealing itself widely from various angles. Her vivid images “Kutuzov”, “Lubizar”, “Squadron”, “Second Army” - about the participation of the Bashkirs in the Patriotic War of 1812; "Port Arthur" - about the Russian-Japanese War; "Tsiolkovsky" - about the unlucky and cruel military commanders of the Bashkir troops (19th century).
Historical song is an actively developing genre, reflecting the most important moments in the history of the Bashkir people. There are songs about the events of the First World War, about the revolution, the civil war, about the memorable days of our reality.

Chapter 4 Folk songs and rituals of the Bashkirs.

A wide and varied layer of folk songs is associated with life and everyday life, with labor processes. There are entire cycles of songs about horses, hunting, and shepherd’s life. (Songs and tunes “Kara yurfa” - “The black pacer”, “Saptar yurfa” - “The green pacer”, “Burte at” - “Karakov horse”, “Alhak kola” - “The lame savras horse”, “Yulfotto hunarsy” - “Hunter Yul gotto”, “Irendek” (name of the mountain), “Ak yauryn sal berket” - “Golden eagle with white shoulders and a gray head”, etc.).
The everyday rituals of the Bashkirs are also rich in songs. The most developed and colorful ceremony has long been the wedding ceremony. It is distinguished by great originality, and many of its features are reminiscent of ancient times. Ethnographers attribute to the period of decomposition of the clan system such elements of the Bashkir wedding as the payment of kalym, a secret visit to the bride by the groom, elections for the bride kiemetlek esei, kiemetlek atay (named mother and father from the groom’s relatives), throwing the bridegroom the morning after the wedding into a stream of a silver coin, etc. d. Songs are an integral part of a Bashkir wedding. Wedding song genres include senlyau (senleu - lamentation, crying), telek (telek - wishing the newlyweds all kinds of well-being), hamak (hamak - wedding recitative), festive, drinking songs sung at a wedding feast (tuy yiry, mazhles yyry).
The songs “Crow Porridge” and “Crow Festival” are associated with spring ritual games. There are large cycles of songs and chants about rivers, streams, and lakes. Many of them probably go back to the time when the Bashkirs had a cult of nature and animals. You can at least refer to the songs “Zayatulyak”, “Agidel”, “Irendek”. There is a wide range of songs dedicated to mountains, valleys, images of sounding nature, and birds. Many of them are lyrical in nature, and the images of nature in them push aside psychological aspects and human moods. These are the songs “Kurtash” (mountain), “Mountain Song”, “Cuckoo”, “Burenushka”, “Ringing Crane” and many others.
The lyrical songs are rich in theme and genre shades. Among them there are original “valiant songs” that reveal the world of thoughts and feelings of a Bashkir traveler, a horseman, the reflections of an experienced person who has seen a lot in life. These include the songs “Passed Life”, “Traveler”, “Ilyas”, “Azamat”.
An independent group consists of lyrical songs about girls' and women's lives. Such as “Tashtugay”, “Salimakai”, “Zyulhizya”, “Shaura” represent classic images of Bashkir lyrical melodies. Love lyrics are very developed in Bashkir music. Love songs are distinguished by chastity, poeticization of the feeling of love and its carriers.
Among everyday songs, drinking songs, guest songs, songs on comic and satirical subjects, as well as dance songs are quite widely represented. An independent group consists of lullabies and children's songs. At the end of the 19th century. the so-called songs of the Zimogors appeared, reflecting the work and life of the Bashkirs working in the fields, factories and factories.

Chapter 5 Instrumental folk music of the Bashkirs.

The songs and instrumental tunes of the Bashkirs are close in content and musical style, although, of course, there are specific differences in the nature of the instrumental tune from the vocal melody.
The instrumental folk music of the Bashkirs, represented by tunes on the kurai, less often on the kubyz, and in the post-revolutionary period on the accordion and violin, is mainly programmatic. The content of the programs mostly coincides with the content of the songs. The performance of songs and tunes is often preceded by a legend (yyr tarihi) about the history of the origin of a given song or tune. The legends preceding the performance of instrumental music reveal the content of the work being performed.
The closeness of the vocal and instrumental forms of Bashkir folk music is evidenced by the presence of such an original type of music-making as “uzlyau” (ezleu), which is a special way of performing two-voices by one singer, which is a kind of imitation of the sound of the folk instrument kurai.
The classic genre of folk song is the group of uzun kuy (long-drawn slow songs and tunes). Essentially, the term uzun kui (ezen kei) is not only a definition of the type of melody; it is popularly used to define the genre and style features of both the tune itself and the style of its performance. In a broad sense, uzun kuy is a set of stylistic and genre techniques developed by centuries of artistic practice, when the creator of the tune was also its first performer, when the skill of improvisation, within the limits of aesthetic norms developed by tradition, lay at the basis of folk art. In a narrower sense, uzun kuy means a slow, drawn-out song or tune. Instrumental melodies in the Uzun Kuy style are most often variants of songs, quite unique and developed in their form.
The term “kyska kyuy” (kyska kay), i.e. short song, defines a very wide layer of folk song art, vocal melodies and instrumental tunes in the kyska kyuy genre are usually associated with everyday and lyrical themes, but there are kyska kyuys with historical Topics.
Just like songs of the uzun kuy type, songs in the kiska kuy style have their own characteristic features, which probably developed over a very long period. The concept of kiska kuy, just like uzun kuy, includes certain stylistic features of the tune and the nature of its performance.
According to their content and genre characteristics, kiska kyu tunes can be divided into several groups. A number of songs in the kiska kui style are popularly called halmak kay, i.e. calm song. They are performed at a moderate tempo, have a lyrical and contemplative character, and most often they glorify images of nature. You can cite, for example, the songs “Tyuyalyas”, “Round Lake”, “Steppe Erkei”.
Thus, Bashkir folk musical creativity is rich and diverse both in content and genre. It is in constant development, and its specific features have a strong impact on modern Bashkir musical culture.

Conclusion.

Thus, we see that the history of folk music in Bashkortostan is very rich and meaningful. Modern musical culture is inextricably linked with its roots and is in constant development. There are a lot of outstanding composers and musical groups performing folk music in our republic. In our palace of children's and youth creativity there is a music studio "Lira", where children learn to play various musical instruments. The leading place in the repertoire of students belongs to Bashkir folk music, works of the best composers of the Republic of Belarus. Our plans for the future: to continue the work begun on the study of folk music, to involve educational institutions in our region in joint work and creativity.

I want to believe that we are on the right path!

Bibliography:

Bashkortostan. Brief Encyclopedia, ed. R.Z. Shakurova Ufa, publishing house: "Bashkir Encyclopedia", 1996.
Essays on the culture of the peoples of Bashkortostan. Comp. Benin V.L. Ufa, publishing house: Kitap, 1994.
Website on the Internet: http://lib.a-grande.ru/music.php

The Bashkirs, like many other formerly unliterate peoples of Eastern Europe. Siberia and Central Asia, created the richest folklore. Epic tales, legends, traditions, and historical songs depict historical events, the activities of individuals, the life and customs of the Bashkirs, the social life and ethnic appearance of the people. Many monuments of oral folk art contain information about the tribal composition of the Bashkirs, the migrations of the Bashkir tribes, their relationships with neighbors, etc. Of particular value as a historical, ethnographic source is the folk heroic epic of the Bashkirs, the emergence of which by A.N. Kireev refers to the period of the collapse of primitive communalism and the formation of early class relations (Kireev, 1970, p. 47). Typically, heroic plots in Bashkir creativity (“Ural Batyr”, “Kuzy-Kurpes and Mayan-Khylu”, “Kara Yurga”, “Kungyr Buga”, “Kusyak-biy”, etc.) in poetic images reproduce events characteristic of the medieval nomadic society. In this regard, these monuments provide significant material not only for restoring some pictures of the ethnic history of the Bashkirs, but also for characterizing the internal social structure and social life of society.

Legends and historical songs, often accompanied by narratives about their origins, are also often based on real historical events. Of course, the transmission of these events is heavily overgrown with mythological plots, wandering from one legend to another since ancient times, fantastic images, an exaggerated assessment of the role of individual “batyrs”, etc. But if the researcher manages to separate reliable facts from the thick layering born of the imagination of the storytellers, then in his hands there are additional sources coming from the people themselves, new facts that cannot be obtained in any other way. Such are, for example, the historical legend of the southwestern Bashkirs, conventionally called by later scribes “The Last of the Sartaev Family,” which tells the story of events in Bashkiria during the war between Tamerlane and Tokh-Tamysh (late 14th century); the epic tale “Kusyak-biy”, vividly reflecting the struggle of the southeastern Bashkir tribes for political consolidation (XIII-XV centuries?); the legend of the Bashkir-tan-Gaurs “Gabdrash-batyr”, recorded by us in 1953 and telling about long-standing Bashkir-Kazakh ethnocultural ties, and many other monuments of Bashkir folklore. Even in works with a pronounced mythological plot (“Kun-gyr buga”, “Synrau torna”, “Akbuzat”, “Bala Karga”, etc.) numerous facts and information are scattered that are of interest in terms of ethnic studies: they contain references to about the ancient Aral-Central Asian connections of a number of Bashkir tribes, about the routes of resettlement to the Urals, about family totems, tamgas, etc.

The involvement of oral folk art of the Bashkirs in broad historical and ethnographic research becomes possible thanks to successful collecting and publishing work. Back in the second half of the 19th century. a series of works appears devoted to both the publication and historical interpretation of Bashkir historical traditions, legends and epic works (Nebolsin, 1852; Lossievsky, 1883; Nefedov, 1882; Sokolov, 1898, etc.). The vast majority of these publications were carried out without observing the scientific principles of publishing sources of this kind, which naturally reduces the possibilities of their use.

The most fruitful years in terms of accumulation of folklore material were the 1930s. It was during these years that scientists, writers, teachers or simply collective farmers recorded and transferred to the fund of the Institute of History, Language and Literature the most outstanding examples of oral folk art of the Bashkirs

(epic works, legends, historical songs, tales, etc.) 8. In the post-war period, the systematic collection of folklore resumed in the late 1950s, when the Institute of Laboratory of Literature of the BFAN of the USSR again began organizing annual folklore expeditions. Expeditions over more than ten years have accumulated enormous material, but from the point of view of historical and ethnographic value it is inferior to folklore monuments collected earlier; epic works, tales, historical songs, due to changed conditions, are gradually erased from the memory of the people, and in many cases disappear completely.

Some of the collected material was published in the 1950s (Kharisov, 1954, 1959). Currently, the scientific publication of the multi-volume series “Bashkir Folk Art” has begun. The first book in the series was published, which included the most significant epic monuments of the Middle Ages (BHI, 1972). At the same time, the classification of monuments of Bashkir folklore according to the principles accepted in modern science has not yet been completed. Until recently, there were also no special studies to help understand the historical foundations of Bashkir folklore. In recent years, research in this direction has noticeably revived. Several very valuable works have appeared in which interesting attempts have been made to establish the relationship between historical reality and some subjects from medieval monuments of Bashkir folklore (Kharisov, 1965, pp. 80-110; Kireev, 1970, pp. 21-47; Mingazhetdinov , 1971). However, the study of the historical foundations of Bashkir folklore works in them has only just begun. The dating, historical and ethnographic characteristics of even the main monuments of Bashkir folk art remain unclear. The reason is not only the general difficulty of solving the problem, but also the excessive desire of researchers for one or another to connect works of folklore with specific historical facts, etc., but the main thing is the lack of development of theoretical issues related to identifying general trends in the development of folklore among former nomads at the time of the origin and formation of the largest epic monuments.Meanwhile, historical and ethnographic material which in a certain part is also folklore in nature, suggests that the degree and depth of connections between oral folk art and historical reality in different eras is different. Of course, at any time

Scientific archive of the USSR BFAN, f. 3, op. 12, d. 222, 223, 227, 230, 233, 242, 269, 276, 277, 292, 294, 298, 300, 303, 336.

During the periods of antiquity and the Middle Ages, in epic tales, folk tales, legends, etc. there was something from reality, something from fantasy. However, the heroic era, which coincided with the collapse of clans and the formation of class relations, left a particularly deep mark in the memory of the people, and people for a very long time, many centuries, eagerly listened to stories about heroes and batyrs, gradually supplementing these legends with new, more recent stories and details. Despite the strong touch of fantasy, through the powerful hyperbolic images of epic narratives and legends born of the imagination, the contours of real historical reality are quite clearly visible. Monuments of Bashkir folklore once again illustrate the deep truth of K. Marx’s words that “ancient peoples experienced their prehistory in imagination, in mythology" 9 .

While focusing on the prospects of using Bashkir folklore material as a historical and ethnographic source, at the same time we emphasize that these possibilities are still limited. In addition to the circumstances noted above, the interconnectedness of the study of history and folklore is essential here. Folklore, of course, helps to understand history, but in order to comprehend the historical origins of folklore itself and penetrate into the patterns of its genesis and development, one must know the history of the people well. Now many people recognize that the importance of folklore monuments in studying the history of peoples who were unliterate in the past is great. But folklore cannot be the only or even the main source base. Folklore can widely reveal its potential as a historical source only if it is interpreted from the perspective of sufficiently broad and thoroughly developed historical concepts. That is why in our research we avoided, despite the seemingly numerous possibilities, the use of material drawn from oral folk art as the main source in resolving issues of ethnic history. As a rule, information and observations extracted from folklore works appear in the work as additional material that helps strengthen the argumentation of certain provisions. But even in this role, folklore material in ethnogenetic studies of nomadic and unliterate peoples in the past occupies a place of honor as a historical source.

K. Marx And F. Engels. Works, vol. 1, p. 419.

Onomastic material

Onomastics as a special discipline relatively recently declared itself as a science that has broad capabilities in solving mainly ethnogenetic, historical-linguistic and historical-cultural problems. In Bashkiria, until recently, onomastics in all its manifestations (ethnonymy, toponymy, anthroponymy, etc.) developed exclusively as an auxiliary discipline. The analyzes she carried out, although of scientific interest, were, as a rule, based on randomly or arbitrarily selected examples and did little to help solve general historical problems. Held in September 1971 in Ufa III The Volga region onomastic conference revealed a completely new picture. It showed, firstly, the deep interest of scientists of the Volga region (and in particular Bashkiria) - ethnographers, linguists, historians in the development of problems of onomastics; secondly, improving the methods of analysis of onomastic material and expanding the philological background of the comparative historical examinations carried out. The reports read at the conference on ethnonymy, toponymy and anthroponymy of the Volga-Ural region demonstrated the wide possibilities of onomastics in the study of problems of ethnic history, the history of migrations, etc. The conference material (“Onomastics of the Volga Region”, 1973) was used by N.A.

At the same time, the successfully started work in the field of onomastics in terms of source studies requires further development and deepening. The value of etymological research, to which historians have always attached importance, increases if at least a relative dating of the appearance of a given name among a particular ethnic group is established. To do this, onomasts will have to base their constructions not on fragments of onomastic material. It is absolutely necessary to accumulate data on the entire ethnic group being studied and on the entire territory of its historical habitat. Only under this condition will there be a possibility of historical-chronological (or stratigraphic) division of the material and further etymological and semantic research based on systemic knowledge about the historical development of this group of names. In light of these requirements, it is necessary to note the work of A. A. Kamalov on the hydronymy of Bashkiria (1969). Currently, the Institute of Laboratory of Biological Sciences of the USSR BFAS is actively working to compile a general card index of toponymic names of the BASSR.

CHAPTER II

ACCUMULATION OF MATERIAL

BY ETHNIC COMPOSITION