Semiotic Signs and Kui Performing Interpretation in the Paradigm of the National Concepts of Kazakh Music Pedagogy

Abstract

The content of music education and upbringing oriented towards the national music tradition belongs to the basic laws of modern music education. These are objective reasons that characterize the essential connection between social and musical phenomena or processes, without which one cannot effectively implement music education and upbringing. This article is dedicated to the study of a special style of playing stringed instruments in the performance of kuis, Kazakh instrumental musical compositions. The interpretation of archetypal ethnical texts evoked an organic syncresis of music with an ancient sign language, including a separate aspect associated with the specifics of non-verbal forms of artistic communication. The essence of the sign language of Kazakh kuis, its meaning and the limits to its applicability are not fully disclosed. They require considering many issues related to the semantic nature of gestures. The present study is based on the exploration of performing Kazakh kuis with stressing on gestures as semiotic structures on these ethnical Kazakh compositions. The authors adhere to the principle that musical language is a synergy of word (text), music and its performing (gestures). The study used comparative-historical, theoretical, and historical-typological methods.

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