History and modernity of Bashkir folklore. Research work "Musical culture of Bashkortostan". times lower than Mount Yamantau. What height above sea level is the lowest point?

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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 SUBJECT 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 especially 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 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. 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), ISHMUKHAMMET (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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Report on the topic:

Teacher - speech therapist: Lisovskaya Nadezhda Anatolyevna

Republic Bashkortostan, Uchaly, MADOU Kindergarten No. 1 "Chamomile"

Report on the topic:

BASHKIR FOLKLORE AS A WAY TO DEVELOP SPEECH OF PRESCHOOL CHILDREN

A special place in folk pedagogy is given to Bashkir folklore and primarily fairy tales, lullabies - small forms of oral creativity. They develop and support joyful emotions in children, form speech skills, moral-aesthetic and artistic-aesthetic qualities.

Nowadays, many books and methodological developments on working with fairy tales in different age groups are being published. preschool. All of them are aimed at development of children's creative abilities, aesthetic and moral education, introducing children to the culture of different nations. But when introducing children to Bashkortostan Teachers face a number of questions. How to tell children in an entertaining and interesting way Bashkir fairy tale? How

make their soul imbued with the meaning of the fairy tale, understand the life and traditions of the people Bashkortostan. After all, a fairy tale is one of the elements of culture and is based on folk-ethnic culture, on folklore roots.

Children's favorite genre is fairy tales.

Folk pedagogy reflected in fairy tales entire methods for the systematic formation of a person’s moral and aesthetic appearance. Fairy tales instill in children sensitivity, attentiveness, responsiveness, courage, courage, perseverance, fearlessness, etc.

Childhood is the time when a genuine, sincere immersion in the origins of national culture is possible.

Reflection of patriotic and international traditions Bashkir people we find in the rich folklore. Folklore as a historically specific form of folk culture does not remain unchanged, but develops together with the people, absorbing everything valuable that existed previously and reflecting new social conditions.

Progressive Educators (Ya. A. Komensky, K. D. Ushinsky, E. I. Tikheeva, etc.) have always believed that the basis of raising children is preschool age should be based on national traditions. In their opinion, from a very early age it is necessary to introduce children to the national culture and the folk word.

In recent years, special attention in research has been given to the role of small forms folklore in the education of preschool children(N.V. Gavrish, G.A. Kursheva, A.P. Ilkova).

Researchers looked at the influence of oral folk art on developmentand raising children in different aspects: personal and speech.

Tikheyeva E.I., Shurakovskaya A.A., Alieva S., Shibitskaya A.E. in their studies showed the influence of fairy tales on development of oral speech.

Flerina E. A., Usova A. I. characterize oral folk art from the point of view of the moral and aesthetic education of a child.

For centuries Bashkir folklore played and plays a great educational role in the life of peoples Bashkortostan. Baimurzina V.I. notes that folk pedagogy is fully reflected in oral folk art, and Kutlugildina Yu. Z. believes that one of the effective means in moral and aesthetic education is oral folk art (folk song, lullabies, proverbs, sayings, fairy tales). Itkulova A. Kh. examines the worldview and moral aspect of various genres of folk tales. She talks about the importance Bashkir fairy tales in the spiritual life of people. Akhiyarov K. Sh. believes that folk pedagogical culture Bashkirpeople consists of elements of folk art: fairy tales, legends, myths, tales, etc. All elements of folk pedagogy are interconnected, complement each other, working deeply in one direction of education. Fairy tales, proverbs, sayings are more evident in moral education, riddles - in mental education, songs, dances - in aesthetic education, and games and fun - in physical education.

Bashkir the fairy tale instills in children from an early age a love for their land and their people, their good wisdom accumulated over centuries, their rich and living culture -folklore, art. A fairy tale helps us revive traditions Bashkir people.

Reflecting on this, we came to the conclusion that children with speech disorders can be helped by theatrical activities based on Bashkir fairy tales. Theater helps development of dance, song abilities, and communication with dolls makes children free and liberated.

Theater activities promotes the development of psychophysical abilities(facial expressions, pantomimes, speeches(monologue, dialogue, cognitive activity, coordination of movements, mastering logical and grammatical structures, expanding the vocabulary of materials Bashkir fairy tales.

Usage folklore pedagogy in working with children promotes formation of the basis of personal culture, folklore identity This is especially important for children attending special speech groups.

The fairy tales we have chosen have been adapted and tested preschool educational institution No. 14, Kumertau Republic Bashkortostan. Below we will consider a number of methodological developments (classes) For preschoolers on oral folk art

Tell me about the doll

Bibabo dolls serve as a visual aid. The guys examine and describe their appearance, clothes, determine their character, and describe their actions. Reliance on direct visual perception promotes correct speech of the child.

Give 1.1 a sample of an approximate description of a doll by a child in a preparatory speech group.

“My doll is a horseman. He has round small eyes. Straight nose. Beautiful brown eyes. He is dressed in a shirt and pants. A smart short sleeveless vest over the shirt (kamzul). The horseman is belted with a narrow belt with a pattern (captyrga). On the head is a skullcap decorated with stars and sparkles. Soft leather boots on feet (ichigi). The horseman and I love to dance. I love him so much".

During the story, the child controls the doll. The horse doll accompanies the words of the text with appropriate movements. The speech therapist teacher complements the child’s story. The dance is accompanied Bashkir melody.

guess a riddle

According to the preliminary instructions of the speech therapist, children learn several riddles.

During the lesson they make wishes for each other with dolls (Olatay Grandfather) and Malay (boy).

For a man - a wing,

For the Sultan - a mark,

Doesn't get tired in summer

Snow crumples in the field in winter.

Malay (raises hand): I know! This is a horse.

He's talking on the wall, but you can't see who

Malay: - This is a radio. I guessed it because the voice can be heard, but who is speaking is not visible.

Speech therapist: - Guys, Malay spoke clearly, took his time so that we had time to think and guess correctly. Olatai was taught to speak so well by his puppeteer, Kirill. Malay, with the help of his puppeteer Sasha, said the answer loudly and clearly, following the first sound in the words - l-l-horse, r-r-radio.

A child’s active speech largely depends on development subtle finger movements. Streamlining and coherence of a child’s speech motor skills - speech pathologist contribute various small movements of the fingers. This is the reason for the use of theater puppets. "Living Hand".

The features of hand puppets allow the speech therapist to widely use them throughout the entire course of speech therapy classes, including when conducting finger gymnastics. The hero of a fairy tale comes to the children and shows them the movements.

Gulkey and the chicken

Here Gulkey runs into the yard,

The index and middle fingers of the hand move across the table. Slamming the doors.

Clap your hands.

Eat, little chicken! -The girl is pouring millet.

A movement depicting sprinkling millet. Help yourself, don’t be shy, it’s very tasty. A chicken walks around

The palm is positioned horizontally. With a pink beak, knock, knock!

Thumb and index finger

form an eye. Next fingers

overlap each other

in a half-bent position.

The hen says, little sister:

Very tasty millet!

Tapping on the table with each finger. I will give you an egg for every grain.

Make a fist with your hands, then open your palm one finger at a time. So, good Gulkey, don’t spare me grains.

Stroking each finger of the opposite hand.

When working with children on each Bashkir fairy tale, highlighted a moral lesson.

Attention was also paid development pew and math abilities of children - speech pathologists, their fine motor skills, ethical education. And the central link of the work was the introduction preschoolers speech groups to native culture Bashkortostan.

"HARE AND LION"

Characters

Hare, lion, bear, fox. Scenery: Forest, well. (Voices behind the screen).

Author: In ancient times there lived a terrible lion (a lion's roar is heard periodically). He struck fear into all the other animals. The animals were tired of putting up with the voracious lion, and they gathered for a council

(A fox, a hare, a bear appears).

Bear: Let's cast lots every day, whoever it falls on will become food for the lion.

(The animals draw lots, the fox and the bear are happy, but the hare is sad)

Hare: I'll have to go to the lion. Are we really going to be the lion's obedient prey? We need to come up with some trick to get rid of it.

Fox: (snorting) Are you not the beast that can outwit a lion?

(To the music, the fox and the bear leave, and the hare goes to the lion.)

a lion: (angrily) Your ancestors moved much faster. You were supposed to come to me in the morning, and now it’s already lunch.

Hare (scared): I was sent to you for lunch. And another hare was supposed to come to you for breakfast. Only on the way he met another lion and ate the poor fellow. So on the way here I met that same lion.

“Where are you going?”- he asks me, and I answer him: “I’m going to my master, Leo”.And he became terribly angry at such words and began to growl and tear the ground with his claws: “Who wants to be the owner of these places?” I barely managed to escape from him, which is why I was late.

a lion (menacing): Where does your impudent person live?

Hare: Not far from here, on that side.

a lion: Take me to him now, I’ll show him who’s boss here!

(The hare walks ahead, followed by the lion. So they came to some old and deep well).

Hare: At the bottom of this very well hides that same lion.

(The lion looks into the well and roars)

a lion: Indeed, there is a lion sitting here that looks like me. Well, I'll show him! (jumps into the well)

Hare (runs, shouting joyfully): No more evil and voracious lion!

Working with a fairy tale

Moral Lesson “Small, but smart”. Cultivating good feelings

What did you like about the hare?

Do you think the fox and bear did the right thing?

Fairy tale and mathematics

Using geometric shapes, depict the heroes of the fairy tale (hare - oval, fox - triangle, bear - circle, lion - rectangle; well - square).

Speech exercise

Are proverbs suitable for fairy tales? "Cheek brings success", “And strength is inferior to the mind”.

A game "Vice versa" (words are antonyms)

Smart hare - stupid lion Brave hare - cowardly bear

Etymology of the word WELL Fairy tale and ecology

Why does a hare need long, fast legs?

Development thinking and imagination

What would you do if you were next to a lion at a well?

Figure out how to make friends with the lion and all the animals.

Developing your hands.

Use counting folders to make a well.

What wild animals are found in the forests Bashkiria?

"THE HUNGRY BEAR, THE FOX AND THE JIGIT"

Characters:

Bear, fox, horseman.

Scenery:

Forest, cart, rope, stake.

(The stage is decorated with green trees. A horseman with a cart appears in the forest, he came for firewood)

(Sounds Bashkir melody, the bear comes out)

Bear: I haven't eaten for a long time. (the horseman grabs and at this time a fox appears to the music).

Fox: What are you doing here?

Bear (whispers into the horseman's ear): Say that you are collecting firewood here and throw me on the cart. I will pretend to be dead, and when the fox comes to me to find out what happened, I will eat him.

Dzhigit: I came for firewood. (He pushes the bear into the cart).

Fox: When they put firewood in a cart, they tie it tightly with a rope, let’s tie it.

Bear (speaks quietly): That's right, he says.

(The horseman ties the bear tightly to the cart).

Fox: When you tie firewood with a rope, you need to tighten it tighter.

(Dzhigit pulls even harder that the bear cannot move).

Fox (approaches the bear and laughs right in its face): Here the master walked and wandered through the forest, an insidious bear, and did not let us live. Now he lay down with firewood in the cart, tied hand and foot.

Fox (addressing the horseman): Thick firewood should be split using a stake. Why are you standing?

(The horseman takes the stake and begins to harass the owner of the forest, and he roars).

Fox: Now the owner of the forest will be a mighty and fair lion.

Working with a fairy tale

Moral Lesson

"What goes around comes around"

Cultivating good feelings

I feel sorry for the bear at the end of the story, and you?

How can I help him?

Who do you rejoice for in a fairy tale, and who do you sympathize with?

Fairy tale and mathematics

Remember 5 fairy tales about a bear. Speech exercise

Choose words - definitions for the word BEAR (hungry, angry, stupid).

Does the proverb fit the fairy tale? “The other side will teach the griefer”

Fairy tale and ecology

Find the extra word based on generalizing features: bear, fox, wolf, dog. hare, hedgehog

Development thinking and imagination

How are fairy tales similar and different? "The Bear and the Bees" And "The Hungry Bear, the Fox and the Horseman"?

In which fairy tale does the horseman act better?

Fairy tale develops hands

Using a paper mosaic applique, depict a bear.

Cultivating love for one's native land

What does a bear eat? (omnivore)

What berries and mushrooms grow in forests Bashkiria?

What kind of fish is found in rivers?

Name the rivers Bashkortostan. We hope our material will help

in the work of teachers not only of speech groups, but also of teachers of mass groups preschool institutions.

LITERATURE

1. Agisheva R. L. Didactic games "I will know Bashkortostan» : Educational and practical manual for kindergarten teachers and primary school teachers. - Ufa: BIRO, 2005.

2. Bashkir folk art. Transfer from Bashkir.- Ufa: Bashkir book publishing house, 1987. - 576 p.

3. Bashkir folk tales. Tales about animals. Everyday tales. - Ufa: Bashkir book publishing house, 1987. - 120 p.

4. Bachkov I. V. Fairy tale therapy: Development self-awareness through a psychological fairy tale. - M. : Os-89, 2001.-144 p.

5. Galyautdinov I. G. Bashkir folk games(in Russian and Bashkir languages) . Book one. - Ed. 2nd, with change. - Ufa: Kitap, 2002. -248 p.

6. Rakhimkulov M. G. "My love - Bashkiria» . Literary and local history essays. Ufa, Bashkir book publishing house, 1985.

7.Fairy tale as a source of children's creativity: A manual for teachers doshk. Institutions. / Scientific Hand. Yu. A. Lebedev. - M. : Humanitarian. Ed. VLADOS Center, 2001.

8. Gasanova R. Kh., Kuzmishcheva T. B. Folklore pedagogy in education and preschoolers: Methodological recommendations to help educators preschool educational institutions. Ufa - BIRO, 2004. - 70 p.

For the research work, we chose this topic because it is very relevant in our time, when the problem of humanizing man and society is relevant, the importance of national cultures in saving humanity from spiritual impoverishment is obvious. Appeal to the spiritual traditions of the people, to the national musical culture contributes to the moral, aesthetic and artistic education of youth, enriching their emotional and spiritual potential, developing a sense of mutual understanding, friendship and cooperation. Today, the upbringing and education of children in Bashkortostan, through the development of national traditions in music classes, forms true respect for the peoples living in all regions of our vast Russia. Our work explores the folk origins of the musical culture of our region: Bashkir folklore in the form of oral folk art, Bashkir folk songs and rituals, instrumental folk music. Knowledge of the folk art of one’s people contributes to the development of patriotism, a sense of pride in one’s small homeland, and forms respect for the history, language and national characteristics of the Bashkir people.

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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

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, munazhat, takmaki, 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. Kamaeva, N.V. Akhmetzhanova, L.K. Salmanova, R.T.

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.

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, storyteller, 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 being 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”. The legends relating to the common Turkic epic monuments stand apart: “Alpamysha and Barsynkhylu”, “Kuzykurpes and Mayankhylu”, “Tahir and Zukhra”, “Buzeget”, “Yusuf and Zuleikha”.