10.6092/issn.1973-9494/17361
application/pdf
1973-9494
17361
en
Svetlana Janseitova
https://creativecommons.org/licenses/by/3.0
Conservation Science in Cultural Heritage
traditional culture
Shamanistic ritual ceremony and accompanying music as the worldview basis of traditional culture
Text.Serial.Journal
https://conservation-science.unibo.it/
22
Articles
2023-07-20
2023-06-23
2023-07-20
2023-07-20
307-322
CSCH
Svetlana Janseitova
2022
10.6092/issn.1973-9494/17361
307
Kurmangazy Kazakh National Conservatoire, Аlmaty, Kazakhstan
1973-9494
traditional culture
en
322
Shamanistic ritual ceremony and accompanying music as the worldview basis of traditional culture
https://conservation-science.unibo.it/article/download/17361/16541
22
S    HAMANISTIC RITUAL CEREMONY AND ACCOMPANYING
     MUSIC AS THE WORLDVIEW BASIS OF TRADITIONAL
     CULTURE


   Ainur Mashimbaуeva, Arita Baisakalova, Aigul Kossanova, Gulsara Absatarova,
   Botagoz Utebayeva, Svetlana Janseitova *
   Kurmangazy Kazakh National Conservatoire, Аlmaty, Kazakhstan

   Keywords: shamanic rite, syncretic ritual, sacred instruments, traditional culture



   1. Introduction

     The syncretic ritual actions of shamans, which cover many elements, including a
number of purely vocal and instrumental episodes, have ritual significance. In their im-
plementation, vocal and instrumental improvisation plays an important role as an in-
gredient of the general ritual complex. Shamanic ritual music is an integral part of the
life of society, impulse of the soul, product of the mind, part of the philosophical, cos-
mological and religious picture of the world of the ethnos.
     The shamanic rite that influences the spiritual essence is: “a path, through which the
Highest Reality of Existence descends” [1]. Exerting the strongest influence on con-
sciousness, ritual music energizes the soul and body, saturating them with sounds of
high frequencies, and is not inferior to the kyuys (kui is Kazakh folk, folk-professional
instrumental music performed on traditional instruments) of Korkut (the legendarу Tur-
kic songwriter and composer of the ninth century), Kurmangazy, Dauletkerei and Tattim-
bet (Kazakh composers of the nineteenth century). As a type of sound activity, the sha-
manic ritual music which accompanies the shamanistic rite is difficult to explain through
the laws of physics and mathematics alone. Differing in the pitch of sound, dynamics of
rhythm and special mode, it can revive spirits, and purify and exalt the soul. The means
of ritual music are versatile. With the sound of a certain pitch and frequency, aggressive
impulses and anger are extinguished, the danger of undesirable manifestations are
reduced. Affecting the emotional state, it relaxes, correcting psychosomatic disorders.
Performing a regulatory-cathartic function that affects the subconscious sphere, music
has a suggestive and intellectual impact.
     The traditional shamanic rite, based on the syncretism of syntactically ordered ar-
tistic means, implemented in a state of an altered form of consciousness, influences the
emotional, figurative, and intellectual sphere of perception. Affecting the subconscious, it:
“evokes visual images through subconscious associations” [1]. As a component of tradi-
tional Kazakh culture, the shamanic ritual is a specific genre peculiar only to the sha-
manic tradition, its moral and ethical values in mystical representations acquiring bright
emotional and artistic forms and a dominant sacred orientation.




   * Corresponding author: janseitova.svet@rambler.ru
                                                                                                                                                     Sound composition, distinguished by complex specificity in the cultures of many
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                 countries, is used in ceremonial rites as a healing process. The muffled sounds of the
                                                                                                                                                 tambourine, the shaman’s low voice with rich overtones, combined with sound vibrations
                                                                                                                                                 and acoustic effects, affect the sick man’s body. Using the tambourine as:
                                                                                                                                                     … a resonator, the shaman deflects sound waves to the right and left, down and up,
                                                                                                                                                 making it seem as if his voice and the sound of the tambourine move from side to side,
                                                                                                                                                 from bottom to top and back. The shaman’s shadow jumping in the twilight creates the
                                                                                                                                                 impression that he is flying [2].
                                                                                                                                                     Differing in a certain structure and a multi-layered sound palette comparable in com-
                                                                                                                                                 plexity to Wagner’s scores, ritual music, which has an extraordinary healing power, influ-
                                                                                                                                                 ences the consciousness of those present, postulating a direct connection between
                                                                                                                                                 the vibrations of certain frequencies and the activity of the centers of psychic energy
                                                                                                                                                 and chakras [3].
                                                                                                                                                     The use of music in spiritual traditions and ceremonial rituals, for healing, has been
                                                                                                                                                 mentioned in specialized literature [4-5]. Shamanic ritual techniques of ecstasy, variet-
                                                                                                                                                 ies of ecstatic experiences, ruling the spirits, establishing contact with the dead, demons
                                                                                                                                                 and spirits of Nature, going into a trance “during which his soul, as is commonly believed,
                                                                                                                                                 leaves the body to ascend to Heaven or descend to Hell”, are described in the works
                                                                                                                                                 of Eliade [6].
                                                                                                                                                     Being the transmitter and keeper of ceremonial rites, the shaman belongs to a
                                                                                                                                                 special caste of peculiar guides between the worlds, who is able to heal, help in af-
                                                                                                                                                 fairs, sanctify and cleanse homes, send misfortunes to enemies, tell fortunes, foretell
                                                                                                                                                 the future. Shamans can travel between the worlds with the help of musical instru-
                                                                                                                                                 ments, “the mediators between the world of people and the world of Gods” [7] and by
                                                                                                                                                 “maintaining and preserving harmony in the microcosm”, they help “concentrate on
                                                                                                                                                 subconscious sensations” [6].
                                                                                                                                                     Distinguished by the unity of religious, ideological and cultural traditions, internal
                                                                                                                                                 ethno-cultural semantics, richness of poetic recitation, impromptu of dynamic plot, mu-
                                                                                                                                                 sical rhythm and philosophical reflection, shamanic music in syncretic unity expresses
                                                                                                                                                 not just artistic and aesthetic forms, but also the spiritual substance of Kazakh ethnic
                                                                                                                                                 self-expression and memory, based on the identity of universal projections of the world.


                                                                                                                                                    2. Methodological frameworks

                                                                                                                                                      In this work, we tried to analyze numerous recordings of texts and melodies about
                                                                                                                                                 the shamanic ritual and spirit, and the concept of the kamlanie structure based on
                                                                                                                                                 cosmocentric, religious, ideological, economic, and socio-psychological aspects.
                                                                                                                                                      Shamanic music, existing in syncretic unity with ritual rites, is inextricably linked to
                                                                                                                                                 an ethnic worldview and to ritual practices requiring the involvement of folklore and
                                                                                                                                                 ethnographic material.
                                                                                                                                                      The main methodological setting of this work is the study of ritual musical culture in
                                                                                                                                                 the complex of principles of historical-ethnographic, structural-semiotic, comparative,
                                                                                                                                                 historical and philosophical knowledge of the cultural “code”. This made it possible to
                                                                                                                                                 identify the main characteristics of the musical language, musical thinking, and the
                                                                                                                                                 genre-specific features of shamanic ritual. A cultural approach is based on a fundamen-
                                                                                                                                                 tally new methodological setting – the study of ritual as an archetype of culture, the cul-
                                                                                                                                                 minating moment of the interaction of ideas about the material and non-material worlds.
                                                                                                                                                 It is an important factor that determines the shamanic ritual as an ideological system,


                                                                                               308
which allows us to consider the relationship between man and space, man and culture,
man and music.
    The model of the most ancient ritual ceremonies, as an inexhaustible source of
ideological, genre, linguistic and stylistic features of traditional musical culture, musical
compositional drama, and an integral concept of shamanic music, is given in the aes-
thetic, and musical and theoretical understanding of this phenomenon.


   3. Kazakh traditional shamanic ritual music as a cultural phenomenon

    Mysterious, bright shamanic ritual music is capable of expressing the inexpress-
ible – immersing a person in the nature of his own consciousness, meditativeness and
detachment from the real world.
    Affecting the numinous ecstatic state – trance, excitement, divine fear – it provides
a unique opportunity to communicate without words. A variety of melodic sounds, giv-
ing the effect of overtones and lasting sound, bring not only a great sensual, but also
highly intellectual pleasure (Figure 1). “Penetrating into the deepest layers of the hu-
man psyche and distinguished by intimacy and softness, they create the impression of
surprisingly light, transparent, iridescent sound matter that trembles in the air” [8].




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE

                      Figure 1. Kazakh traditional shamanic ritual music.

     Shamanic ritual music is multifunctional. Performing a variety of psychotherapeu-
tic, psychodiagnostic, correctional, rehabilitative, preventive, spiritual, communicative
and intellectual functions, it influences the higher planes of the human psyche, regulates
borderline emotional states, and “predetermines the fullness of life, where the spiritual
and beautiful is not a separate, independent part, but the very content of life” [9]. Re-
quiring a high concentration of attention, shamanic music “turns off the oppressive
dictates of the mind and contributes to the influx of feelings and emotions” [9].
     The ideological basis of shamanic representations consists of the religious context
of the ideology of the shamanic cult and a complex of mythological plots and represen-
tations. The traditional nomadic model of the world consists of the Upper World (celes-
tial world), the Middle World (human world) and the Lower World (underworld). Accord-
ing to traditional beliefs, almost all phenomena of the surrounding world have their own


                                                                                                309
                                                                                                                                                 spirits. The shaman plays the role of mediator between spirits and man. He perceives
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                 the Universe-Cosmos as something animate with its own soul and mind, and requiring
                                                                                                                                                 cult ceremonies, worship and sacrifice [2].


                                                                                                                                                    4. The shamanic rite as a sacred art

                                                                                                                                                      Thanks to the shamanic ceremonial rite that has come down to us, we can trace
                                                                                                                                                 the gradual process of the origin of musical language and the formation of musical
                                                                                                                                                 thinking; the subordination of all kinds of sound technology to the ritual; the compo-
                                                                                                                                                 sition of the ritual costume, decorated with all kinds of ringing metal ornaments, such
                                                                                                                                                 as bells, the fangs and feathers of animals and birds, bags of adraspan (a grass that
                                                                                                                                                 repelled evil spirits), ribbons, scraps of skin and fabric; and the structural form of the
                                                                                                                                                 ritual process itself.
                                                                                                                                                      The shamanic rite assumes the presence of participant-spectators and can be
                                                                                                                                                 compared with theatrical performances. With a certain dramatic structure, it organical-
                                                                                                                                                 ly combines canonical and improvisational elements. Several components are required
                                                                                                                                                 in the composition of curative rites, such as appeals to the spirits, definition of the dis-
                                                                                                                                                 ease, the shaman’s journey into other dimensions, the expulsion of evil spirits, foretell-
                                                                                                                                                 ing the future, etc. Their structure typically consists of:
                                                                                                                                                      … three parts, built on a certain tempo gradation from a slow to a fast pace and to
                                                                                                                                                 slow again. The structural model of the shamanistic ritual consists of an introductory
                                                                                                                                                 part (appeal to the spirits), a central part – the shaman’s “journey” – and a final part,
                                                                                                                                                 which ends the ritual session [10].
                                                                                                                                                      The shamans’ song, and poetic and instrumental creativity, as an example of true
                                                                                                                                                 improvisation, requires a special imagination and the extraordinary creative talent of
                                                                                                                                                 the poet, a master of words, the qualities of an actor and composer, a unique sense of
                                                                                                                                                 rhythm, brilliant improvisational abilities, choreographic intelligence, and knowledge of
                                                                                                                                                 psychology. Shamanic art is like a one-man theater. With great:
                                                                                                                                                      … magical power, he can create an effect that it is not him playing the kobyz
                                                                                                                                                 (stringed bow instrument), but a kobyz itself telling the story: the plaintive moan of a
                                                                                                                                                 deer which has lost its calf, a longing camel grieving the death of its colt, the funeral cry
                                                                                                                                                 of the mother who has lost her only son [11].
                                                                                                                                                      It is the philosophy of life, “encoded into a complex symbolism of sounds, in which
                                                                                                                                                 consciousness completes what was heard into a complete associative row” [12] and
                                                                                                                                                 generalizing “this and the other world into a single artistic system of images” [13]. Ar-
                                                                                                                                                 chaic shamanic melodies, created in analogy with melodic recitations – spells and
                                                                                                                                                 short songs (saryn) – are distinguished by an imitation of the voices of animals and
                                                                                                                                                 birds, with various types of guttural singing. Subordinated to the ritual action, shaman-
                                                                                                                                                 ic saryns have different types of intonation: melodic intonation and recitation, rituals
                                                                                                                                                 with the kobyz (stringed bow instrument), shamanic guttural singing, communication
                                                                                                                                                 with the participants, and a recitative form of spirit incantation [14].
                                                                                                                                                      Sound used in the rite, with its exceptional sacral power, produces a unique effect.
                                                                                                                                                 Powerful tambourine strokes are aimed at horrifying and scaring away evil spirits; the
                                                                                                                                                 mysterious sound of the kobyz fascinates, with its magical and mystical influence; the
                                                                                                                                                 melodious ringing of the asatayak (a stick with kongyrau bells) attracts spirits (aruahs).
                                                                                                                                                 With minimal means, a simplified sound palette and a special vagueness and their
                                                                                                                                                 emotional and aesthetic orientation, saryn melodies bring a peace of mind, rising above
                                                                                                                                                 everyday life to higher spiritual spheres.


                                                                                                         310
    Alkey Margulan wrote that during communication with the aruahs, “the shaman
used a kobyz and with its help went on a journey in search of the soul of the sick; a
key tool in the search for the missing (sick) soul is the kobyz, the sound of which
contributes to the shaman’s entry into different spheres” [15]. Thanks to the sacred
sounds of the kobyz, a person acquired or lost certain qualities and achieved funda-
mental changes, not only in his character but also in his attitude to life. Karakuzov
and Hasanov believe that the structure and harmony of the instrument were subse-
quently transferred to:
    … the Kazakhs’ idea about the Universe and cosmic harmony: the soundboard and
the two pegs, regulating the two strings, refer to the Upper World, the hollowed-out part
of the kobyz, which are like the two halves of the brain, represent the Middle World.
The Lower World is represented by the bottom part of the kobyz, which is nothing else
but water (Chaos) [16].
                                                                     Wearing shaman robes,
                                                                 shamans seem to change
                                                                 their essence, the shaman
                                                                 gains a connection with the
                                                                 world of the dead, with the
                                                                 spirits of their ancestors.
                                                                 Playing the kobyz, swing-
                                                                 ing the asatayak, hitting the
                                                                 tambourine with particular
                                                                 speed and force, and chang-
                                                                 ing the rhythm, the shaman
                                                                 helps people to immerse
                                                                 themselves in the inner
                                                                 world, and by creating cer-
                                                                 tain images, puts people in




                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE
                                                                 a trance (Figure 2).
                                                                     The shaman’s prerog-
                                                                 ative is a magical practice.
                                                                 As a skilled magician, he
                 Figure 2. A baksy with a kobyz.                 “honors the gods of the
                                                                 Upper World and defeats
the evil lustful spirits of the Lower World”; in the Middle World he can propitiate the
“masters of the earth”. Sitting astride the kobyz, he travels the worlds of the bound-
less Universe. Serving funeral rites, he accompanies deceased souls into the Un-
derworld; he is often found at the bedside of the seriously ill and “… at wedding
feasts. For the former he performs the function of a healer, and for the latter he
participates as a priest or a sorcerer, predicting the future of the newly wed” [17].
“Against mystical forces the shaman opposes the superior mystical power of his
witchcraft and the gift of foresight” [18].
    The sacred kobyz, “designed to support the delimitation of the worlds” in order to
assert the harmony of the Cosmos with all its anthropomorphic features, is a partici-
pant of the shamanic actions. It can participate in equestrian competitions, as when on
one occasion, a shaman made a kobyz participate in a competition instead of himself
and when other participants found out, they tied his kobyz to a tree. “People gathered
at the finish line, watching in terror, as the kobyz victoriously galloped in a cloud of dust
dragging an uprooted tree” [19].


                                                                                                 311
                                                                                                                                                                                                               Kazakhs called only “the
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                                                                          most capable healers, baksy
                                                                                                                                                                                                          (Figure 3), a person capable
                                                                                                                                                                                                          of falling into a special, ecstat-
                                                                                                                                                                                                          ic state, and in this state, was
                                                                                                                                                                                                          able to communicate with the
                                                                                                                                                                                                          other world” [20]. A shaman
                                                                                                                                                                                                          has the gift of poetry, and a
                                                                                                                                                                                                          knowledge of myths and leg-
                                                                                                                                                                                                          ends; he is a musician, actor,
                                                                                                                                                                                                          singer, priest, healer, magician,
                                                                                                                                                                                                          diviner, the representative of a
                                                                                                                                                                                                          mysterious knowledge, a teach-
                                                                                                                                                                                                          er, storyteller, counselor and
                                                                                                                                                                                                          guardian of cultural traditions
                                                                                                                                                                                                          (i.e., religious cult, primitive sci-
                                                                                                                                                                 Figure 3. The baksy, Oken.
                                                                                                                                                                                                          ence, medicine, music and po-
                                                                                                                                                                                                          etry), all in one person.
                                                                                                                                                     The famous female shaman Kubul (born in 1970, Kуzуlorda) (Figure 4), who be-
                                                                                                                                                 longed to the category of black shamans, had an extraordinary ability to expel evil
                                                                                                                                                 spirits from the body of the sick; she was also a soothsayer.
                                                                                                                                                                                                               It is believed that women
                                                                                                                                                                                                          have closer contact with spirits,
                                                                                                                                                                                                          usually evil spirits. A woman is
                                                                                                                                                                                                          more often influenced by harm-
                                                                                                                                                                                                          ful creatures, because it is eas-
                                                                                                                                                                                                          ier for them to enter her (these
                                                                                                                                                                                                          ideas are related to the physio-
                                                                                                                                                                                                          logical characteristics of wom-
                                                                                                                                                                                                          en; it is believed that a woman
                                                                                                                                                                                                          is greatly ‘exposed’ to spirits
                                                                                                                                                                                                          during childbirth and during the
                                                                                                                                                                                                          menstrual period). Hence the
                                                                                                                                                                                                          conviction that black shamans
                                                                                                                                                                                                          originate from female shamans.
                                                                                                                                                                                                          Female shamanism is consid-
                                                                                                                                                                                                          ered to be of lower quality and
                                                                                                                                                                                                          requires a shorter period to
                                                                                                                                                                                                          ‘grow inspiration’; it is also ac-
                                                                                                                                                                                                          companied by less torment than
                                                                                                                                                                                                          male shamanism. However, fe-
                                                                                                                                                                Figure 4. The baksy, Kubul.               male shamans can achieve a
                                                                                                                                                                                                          high degree of art in almost all
                                                                                                                                                 shamanic manifestations, with the exception of ventriloquism, which is considered com-
                                                                                                                                                 pletely inaccessible to women.
                                                                                                                                                     According to the stories of old informants, one of the popular shamans among
                                                                                                                                                 Eastern Kazakhs was Kaiyrkhan (Figure 5), a baksy from the Tauke tribe (born in 1986,
                                                                                                                                                 Shуmkent), who people sometimes called “bala baksy” (baksy child), because he had
                                                                                                                                                 started his shamanic activities from a young age.


                                                                                                               312
                                Figure 5. The baksy, Kaiyrkhan.

    … Kaiyrkhan treated infertility along with other diseases. A bai Sherubai’s younger wife
(tokal) did not have a child for a long time. The appeal to the saints and mullahs did not yield
results. Sherubai then sent his men for the baksy, Kaiyrkhan. Upon arrival, Bai ordered a
white yurt to be placed in the village. Alone there, the baksy spent three days summon-
ing his jinns. On the fourth day he ordered a young woman to be brought into the yurt.
As soon as it got dark, the baksy started his “game”. There was a fire in the hearth in the
middle of the yurt, and not far from it sat the young woman. People were sitting around.
The baksy, sitting opposite the woman, began to play [21].
    Kaiyrkhan’s words to invoke the spirits were:




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
                                 Oh, my Sholak, where art thou?
                                     Lead me to the disease
                                  Oh Sarbalak! Where art thou?
                                   Lift me up, lift my spirit up!
                              Do not be afraid of jinns and shaytans!
                                      Start your action! [21].

    After a while his eyes rolled; holding a kobyz in one hand, he started running around
the hearth and the sick, then his voice gradually dropped, and he started frothing at
the mouth. Squatting down, he entreatingly and pityingly uttered the following words,
“Have you come?” [21].
    Then he asked to be given a colorful lasso. He wrapped this lasso around the waist
of the woman seven times and tightly tied the end of the lasso. Then again, with the
accompaniment of the kobyz, running around the woman, he sang:
                                  Oh, my Sholak, where art thou?
                                    Untie the ends of the lasso.
                                          Untie the knots
                                      Of numerous diseases
                                    In the waist of the woman.
                                           Oh Baba Tukti,
                                           Shashty Aziz,
                                  Forgive her, if she has sins [21].


                                                                                                   313
                                                                                                                                                                                                        Then he removed the lasso from
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                                                                    the woman’s waist, threw it into the
                                                                                                                                                                                                    fire and thus ended the treatment
                                                                                                                                                                                                    [21].
                                                                                                                                                                                                        A shaman depicts the emergence
                                                                                                                                                                                                    of another patron spirit with a change
                                                                                                                                                                                                    in the melody and lyrics of the song,
                                                                                                                                                                                                    and the peculiar striking on the dabyl
                                                                                                                                                                                                    (instrument). Since spirits “dwell” in
                                                                                                                                                                                                    the images of various animals and
                                                                                                                                                                                                    birds, sound imitation (as well as the
                                                                                                                                                                                                    movements and facial expressions of
                                                                                                                                                                                                    the shaman) is very specific and ac-
                                                                                                                                                                                                    curately represents each animal. One
                                                                                                                                                                                                    shaman, Suymenbai (Figure 6), could
                                                                                                                                                                                                    reproduce the sound of:
                                                                                                                                                                                                        … the singing of the cuckoo, the
                                                                                                                                                                                                    ominous laugh of the owl, the howling
                                                                                                                                                                                                    of the wolf, the cry of the crane, the
                                                                                                                                                                                                    crow flapping its wings, etc. It seems
                                                                                                                                                                                                    that the people sitting in the yurt are
                                                                                                                                                                                                    surrounded by a gathering of spirits,
                                                                                                                                                         Figure 6. The baksy, Suymenbai.            animals and birds [22].

                                                                                                                                                    5. Korkut: the first musician, mentor and patron of Kazakh shamans and
                                                                                                                                                       traditional performers

                                                                                                                                                     The picture of the world of magic and the sacred shamanic rite would not be com-
                                                                                                                                                 plete without examining the mysterious phenomenon of Kazakh culture and the myth-
                                                                                                                                                 ical figure of Korkut, who lived in the ninth century. From legends we learn that Korkut
                                                                                                                                                 was a legendary sage, a talented musician, a storyteller, the creator of the world’s first
                                                                                                                                                 musical bow instrument, the kobyz, the divine purpose of which is to serve as a means
                                                                                                                                                 of communication with the spirits. “His name was known to many Turkic-speaking peo-
                                                                                                                                                 ples, and the rumor about his unusual music that enchanted people” [23] spread to other
                                                                                                                                                 parts and peoples of the world beyond the Turkic-speaking population. The veneration
                                                                                                                                                 of Korkut among the Kazakhs is closely connected with shamanism, during which the
                                                                                                                                                 baksy invokes his spirit to help them during their rites, playing the kuis (an instrumental
                                                                                                                                                 genre) created by Korkut.


                                                                                                                                                    6. Connection of Korkut’s music with the Universe

                                                                                                                                                      Korkut’s music (Figure 7) became a life-giving principle and the symbol of sacred-
                                                                                                                                                 ness and divinity in the culture of Turkic people. Hence the uniqueness of the nomadic
                                                                                                                                                 representation of the creation of the world “through music, as the quintessence of any
                                                                                                                                                 harmony” [23]. In the myths of the people of the world, it is a kind of portal, through which
                                                                                                                                                 it is possible to enter the space of other dimensions, where the logic of death “does not
                                                                                                                                                 work”. The similar semantic layer is observed in ancient Greek myths about Orpheus,
                                                                                                                                                 who immersed himself in a space that went beyond death with the help of music [24].


                                                                                                           314
                                                          In the three-level structure of shaman-
                                                     ic kuis, we can see “a musical projection
                                                     of the Trinity of energy fields of the inner
                                                     (human), earthly and cosmic worlds “[24].
                                                     The phenomenon of shamanic music
                                                     consists in the possibility of “union, fusion
                                                     with the Cosmos, which is not cold and
                                                     far, but full of sympathy and empathy,
                                                     when personal spiritual experience be-
                                                     comes the property of the world and the
                                                     Universe itself embraces listeners with
                                                     soft warm sound vibrations” [25]. The leg-
                                                     ends talk about the mythical character of
                                                     Korkut, his birth and longevity. According
                                                     to some legends, he lived 295 years.
                                                          The pregnancy of Korkut’s mother last-
                                                     ed three years and nine days, with contrac-
                                                     tions occurring once a year. Finally comes
                                                     the time of birth. When the contractions
                                                     started, there was thunder, lightning, and a
                                                     great storm. As soon as the baby was
                                                     born, he immediately began to speak. At
                                                     first the terrified people thought that it was
         Figure 7. Korkyt Ata and music.             a monster. Only later, convinced that it was
                                                     a human child, they calmed down [19].
    As soon as Korkut was born, the wind stopped blowing, the clouds parted, the sun
came out, and the world around sparkled and revived. From early childhood, he was on
a par with flying birds, running animals, the blowing wind, and falling rain. He got on well
with the surrounding nature and grew up with it [19].




                                                                                                        CONSERVATION SCIENCE IN CULTURAL HERITAGE
    Muhtar Auezov tells the following legend. Korkut from his youth could not “come to
terms with the transience of human life and decided to fight against the inevitability of
death. Tormented by his thoughts and driven by the dream of immortality, Korkut leaves
the people, but everywhere death is waiting for him [26]. In literary and scientific sources
Korkut is described as a prophetic singer, a Holy elder, Tabib, a wise shaman, soothsayer
and healer [27]; the elder of the tribe, an oracle, combining the qualities of a sorcerer, sage
and musician [28]; in the epic, he is a singer-storyteller, advisor of the Khan, sorcerer,
healer, white-bearded elder, wise sage, prophetic singer and soothsayer [29]. The histori-
an Rashid-al-Din, in the preface to the book Book of Dede Korkut (Azerbaijani: “Kitabi
Dədə Qorqud”), writes that Korkut was a wise prophet, “everything he said came true” [29].
    An important point in the legends about Korkut is the search for immortality. This
legend was recorded for the first time in the nineteenth century by Walikhanov and
Divaev. There is also a musical piece for kobyz, Korkut-kui, which was described by
Zhubanov in his book Strings of centuries (Figure 8).
    Korkut sacrifices his favorite camel Zhelmaya, lays a carpet on the surface of the
water, and sitting on the carpet plays a kobyz, the upper soundboard of which is made of
Zhelmaya’s skin. Death lies in wait for Korkut, but throughout the day and night Korkut
continues to play the ‘Song of life’ with his kobyz, and as long as this song sounds, death
does not dare to approach him. And when exhausted, for a moment, death, taking the
form of a poisonous snake that stings him, Korkut dies. From this moment on, the music
victoriously struggles with death. Where music sounds, death has no power [30].


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A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music




                                                                                                                                                                                   Figure 8. Korkut kui.

                                                                                                                                                     Dede Korkut played kobyz and life awakened again. Dede himself forgot both the
                                                                                                                                                 grave, and death, and eternal separation. Again, he lived in a beautiful world, resur-
                                                                                                                                                 rected by the strings of the kobyz, in the world of brave dzhigits (zhigit from the Turkic
                                                                                                                                                 young man, good man – a word used in the Caucasus to denote a skilled and brave
                                                                                                                                                 horseman, over time, it was used to call brave men in general), generous warriors.
                                                                                                                                                 Korkut’s music attracted all earthly creatures – flying birds, running animals. All in
                                                                                                                                                 whom life glimmered, gathered on the bank of the river Syr-Darya and listened to the
                                                                                                                                                 kobyz. Death came to take Korkut’s soul, but it couldn’t – it didn’t have the strength to
                                                                                                                                                 approach him. Dede Korkut played the kobyz and the trees straightened, branches
                                                                                                                                                 covered with leaves, flowers lifted their heads on the slopes, grasses came to life, and
                                                                                                                                                 cold water started running in the dry brooks [31].
                                                                                                                                                     There are several versions of the myth about Korkut. Each refers to the recreation
                                                                                                                                                 of Cosmic Harmony. They have one common feature, “for Kazakhs, non-being is har-
                                                                                                                                                 monized and turned into Space only by Music. According to the myths about Korkut,
                                                                                                                                                 the creation of the world is connected with music and occurs at the moment when
                                                                                                                                                 Korkut plunges his kobyz into the waters of the Syr-Darya.” The world is permeated
                                                                                                                                                 with music from the kobyz; the “center” of the earth is a place of “concentration of cos-
                                                                                                                                                 mic energy forces” [32].
                                                                                                                                                     Korkut’s kuis, which give the effect of overtones with a lasting sound, are able to
                                                                                                                                                 express the inexpressible immersion into the nature of one’s own consciousness, and
                                                                                                                                                 into the deeper layers of the human psyche. They can lead to numinous experiences,
                                                                                                                                                 trance, ecstatic states, excitement, divine fear, detachment from the real world and
                                                                                                                                                 from empirical reality.
                                                                                                                                                     Thus, the kui can be seen as a repository of deep layers of culture, an indispens-
                                                                                                                                                 able foundation of psycho-emotional and spiritual experiences, and artistic and aes-
                                                                                                                                                 thetic forms of manifestation of the “ethnic self”.
                                                                                                                                                     In the Neolithic era, the shaman was aware that the human body is a vibrating
                                                                                                                                                 system and, shamanic kuis are vibrations which are synchronized and ordered in a


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special way, directly affecting the mood and spiritual state of man. Quiet melody at the
beginning of the kui, factors into the creation of a certain atmosphere, preparing listen-
ers for further actions. The main part stimulates certain emotions, conjuring up the
necessary associations and memories of the shocks one has experienced. At the end,
there is a slow, soothing, stress-relieving and relaxing melody, creating an atmosphere
of tranquility and well-being. Reflections of the kui factor contribute to the knowledge
of new, unexplored secrets of the human soul and the discovery of various aspects of
the human psyche.
      The sound fabric of the shaman’s kui is characterized by “refinement, transparency
and a certain minimalism, as well as seemingly inconspicuous techniques and means
of expression” [33]. Filled with boundless expressiveness, they create a powerful en-
ergy field. One special quality of the kui is the richness of overtones and its velvety
sound, which are so diverse that it is difficult to determine the components. Subtly
conveying different shades of mood, “the elusive verge of contact of the visible world
and the world full of mysteries of the otherworldly”, the kuis, like elegies, are fraught
with magical power, hidden drama, and the elusive mystery of being. The shamanic kui
lies beyond causality. It is a gift of higher powers. Its impact is magic. Performing the
role of “a means of transport” it helps the shaman to travel to the world of higher
spheres, the world of spirits.
     As an outstanding personality, the shaman has a number of qualities:
     … faith in the existence of a Supreme deity, Tengri, whose image is associated with
the “blue sky”, faith in the continuation of life after death; knowledge of the vast panthe-
on of spirits, the representatives of which, in accordance with the dualistic concept, are
evil and good [15].
     The knowledge of a specific tradition is needed too: therapeutic practices, trance,
dream, shamanic techniques, and secret language. The shaman creates his ritual
dance by putting meaning into his every movement and joining all movements into the
conception of a “man’s harmonious relationship with the world around him, his level of
worldview, his intellect.” [34].




                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE
     He has the knowledge of an oracle, a mystic, and is a master of ecstasy with a
knowledge of ritual ceremonies (the ability to enter into a trance). A shaman has mag-
ical and supernatural powers. He serves as a mediator between the spirits and gods;
he protects from evil spirits and helps find missing cattle; he averts misfortunes; he can
tell fortunes, predict the future, heal tribesmen; he is a good musician, poet and artist;
he can understand the language of animals and birds and imitate their behavior; he
has a good imagination, and the gift of poetry and music; he masters hypnosis, con-
centrates attention, and controls the whole process. These qualities are perceived as
a fact of the condescension of the spirits toward him.
     The universal and existential meaning of ritual music, combined with socio-cultural,
aesthetic and psychological factors, allows “the manifested and unmanifested world,
the categories of time and space”, and the categories of death and immortality to be
perceived.
     Travelling to “other worlds”, communicating with spirits, “entering the image” are like
theatrical actions. There is no difference between existence and art. Shamanic activity
is part of life itself:
     … Imitation of the animals and birds’ behavior, and sounds, in the context of ritual
practice plays a special role in the transformation of the shaman and symbolizes the
“appearance” of patron spirits. Shamans can engage in communication with other
worlds; they live and act in a different sphere, transforming themselves into another be-
ing. This other world is the world of spirits, and the other realm is the realm of magic [35].


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                                                                                                                                                     During the rite, the shaman keeps everything under control, and is sensitive to the
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                 behavior of those present; he manipulates with physiotherapeutic means and improvises
                                                                                                                                                 on musical instruments. Using all sorts of phrases, theatrical movements and gestures,
                                                                                                                                                 he revives the spirit and pacifies the agitated psyche. With the help of calm and tranquil
                                                                                                                                                 rhythms, suggestion and hypnosis, requiring special natural qualities, and knowledge of
                                                                                                                                                 the magic of improvisational art, he fascinates people, birds, and animals.
                                                                                                                                                     Korkut’s shamanic kuis are especially rich in cathartic impact. Listening to them,
                                                                                                                                                 people experience an emotional reaction that can relieve stress, anxiety, irritability, and
                                                                                                                                                 other affective states. Pacifying and awakening strong feelings, the kuis bring peace,
                                                                                                                                                 relaxation, and influence the mental and bodily state.
                                                                                                                                                     Shamanic kuis with carefully calibrated musical and dramatic compositions, and
                                                                                                                                                 specifically complex laws of construction, increase emotionality and the theatrical ef-
                                                                                                                                                 fects, which are saturated with specific means of expression. They can be attributed to
                                                                                                                                                 works of art, gifts of higher powers, an “encyclopedia” of unique types of intonation,
                                                                                                                                                 outstanding vocal and instrumental forms, and brilliant recitative inserts.


                                                                                                                                                    7. Conclusions

                                                                                                                                                      The study of the shamanic rite as a complex phenomenon within the research field
                                                                                                                                                 of history and theory of culture, allowed us to consider the evolution of the functional
                                                                                                                                                 purpose of music in the ritual, style and characteristics of musical language, and its
                                                                                                                                                 sacred role as a sound constitution.
                                                                                                                                                      The musical component of the shamanic rite is characterized by a rich system of
                                                                                                                                                 sound images, a specific language of communication, and the supernatural world, and
                                                                                                                                                 is also the oldest layer of spiritual culture with special conservative elements that allow
                                                                                                                                                 it to be considered as part of the universe. With the high level of musical thought de-
                                                                                                                                                 veloped in the syncretic unity of the shamanic ritual, music is closely connected with
                                                                                                                                                 the worldview and ritual practice of the people. Thanks to the preserved rituals, we can
                                                                                                                                                 judge the patterns of musical language; have an idea about the technique of ecstasy,
                                                                                                                                                 spiritual and mystical content, the system of worldview, connection with the other world
                                                                                                                                                 and its role in the social structure of society.
                                                                                                                                                      Through the dialectic of the sacred, and knowledge of folklore, myths, epic, and psy-
                                                                                                                                                 chology, the shaman uses music in such areas as psychotherapy associated with the
                                                                                                                                                 psycho-emotional sphere – with its help, psychological defects are corrected; it impacts
                                                                                                                                                 stressful situations and increases the reserve capacity of the body. The shaman, as a
                                                                                                                                                 brilliant specialist in the human psyche, can ‘see’ it, and recognize its form and purpose.
                                                                                                                                                 He can activate interpersonal communication by providing contact communication, pos-
                                                                                                                                                 itive changes in emotional, intellectual, and personal aspects, and self-esteem.
                                                                                                                                                      Possessing a phenomenal technique, amplitude, fantastic speed, and power, the
                                                                                                                                                 shaman extracts sound filled with inner freedom and powerful energy. The apogee of
                                                                                                                                                 the shaman’s virtuoso instrumentalism is represented by numerous interludes with a
                                                                                                                                                 precisely calibrated plot and thoughtful drama, distinguished by refinement, transpar-
                                                                                                                                                 ency and a certain minimalism; overall, they create a powerful energy field in the flow
                                                                                                                                                 of information.
                                                                                                                                                      With the help of musical instruments associated with cult actions and astral repre-
                                                                                                                                                 sentations, the anthropological construction of which testifies to the connection with
                                                                                                                                                 cosmic harmony, the shaman involves people in joint meditation. In elevating the soul
                                                                                                                                                 and pacifying the heart, he establishes a sacred connection with the higher worlds.


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Distinguished by a variety of sounds, from thunderous strikes with a sharp rattle to the
gentlest rustle and a continuous soft caressing sound accompanied by a light jingle,
shamanic music harmonizes states of being, influences the imagination, develops in-
tuition, and directs psychic energy into the world of thought, imagination and feelings.
By grasping the innermost movements of the listening audience, the living thread of
aesthetic empathy that predetermines the spiritual rise, this music represents the re-
sult of creation, a unique phenomenon, an energy weapon with a magical destination.
     Shamanic kuis, as the most ancient and archaic musical expression in musical
folklore, serve as the basis of spiritual culture, and help in successfully orientating
oneself in the world. Determining the life values of the ethnic group, it protects social and
physical well-being. Striking with its functionality, information content, capacity, spatial
energy and philosophical meditativeness, and its irrepressible and hard driving rhyth-
mic energy, as well as regulating tension, the shamanic kui designs the energy field of
inseparable worlds: Music and Life, Music and Man, Music and Cosmos, and connects
the Present with the Eternal, the Earthly with the Cosmic.
     In this work, we have discussed the shamanic ritual, its spirit, and the concept of its
structure, based on cosmocentric, religious, ideological, economic, and socio-psycho-
logical aspects. Our research is devoted to the mysteries of the sacred musical world
of the shamanic ritual, and the ultimate state of the shaman as a musician, their spiri-
tual world and cultural environment; the understanding of the morphology and seman-
tics of the use of music in rituals; the formation of a cultural code and stylistic features,
genre forms, musical thinking and language, individualized and personally colored vo-
cal and instrumental improvisation.
     The functional character of shamanic music, characterized by the melodic brilliance
of lyrical forms, the harmony of its musical rhythm and the elegance of its musical lan-
guage, inscribed in the structure of the world, allows us to consider it not only from a
purely aesthetic perspective but also from one that is world-creating, world-modelling,
world-presenting, and world-harmonizing.
     Shamanic music, which provides a link between Man and the Cosmos, existed in




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
an oral culture, and due to its momentary nature, could not preserve its original es-
sence. Passing from generation to generation, acquiring new forms, and meanings, it
still lives in the preserved materials of notation and records of shamanic rituals, never
ceasing to amaze with its compositional integrity, multi-layeredness, cosmocentrism,
marginality of spatial zones, and scale and universality.


      Authors’ contributions

    Ainur Mashimbaуeva, Arita Baisakalova, Aigul Kossanova, Gulsara Absatarova,
Botagoz Utebayeva and Svetlana Janseitova, participated equally in writing and editing
the article, and studying the scientific literature on the topic. All authors have read and
approved the final manuscript.


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   Biographical notes

    Mashimbayeva Ainur Jakypalievna is a Candidate of Philology and Associate
Professor in the Department of Social and Humanitarian Disciplines at Kurmangazy
Kazakh National Conservatory. She is the author of over 40 scientific articles, including:
“Linguistics of Russian-speaking Kazakh musicology”, XLinguae (Slovenia). Scopus.
ISSN 1337-8384. Vol. 10. Iss. 4, pp. 13-25. SJR 0.310. Q1-2. 2017.

     Baisakalova Arita Begenovna is an Associate Professor at the Kazakh National




                                                                                               CONSERVATION SCIENCE IN CULTURAL HERITAGE
Conservatory, Department of Special Piano; an Honored Worker of the Republic of
Kazakhstan and Member of the International Jury. She is the author of over 25 scien-
tific articles.

    Kossanova Aigul Shadaevna is an Associate Professor in the Department of Pop
Music of the Kazakh National Academy of Arts and an Honored Worker of the Republic
of Kazakhstan. She is the author of 15 articles: “The synthesis of the integrative and
form-building possibilities of expressive means of music painting and poetry”, in “Astra
Salvensis” (Romania) ISSN2393-4727. - 2018. V.6. ISS.12.-P.589-602.

    Absatarova Gulsara Bekturganovna, is a senior teacher at Kurmangazy Kazakh
National Conservatoire. Author of more than 20 scientific articles; Semiotic Signs and
Performing Interpretation of a Kui in the Paradigm of National Concepts of Kazakh
Music Pedagogy/ Universal Journal of Educational Research Vol. 8(11B): 6192-199,
2020. DOI: 10.13189/ujer.2020.082257. - SJR - 0.122. India. Scopus; Effectiveness of
using musical compositions in teaching foreign language, Professional science, Lulu Inc.,
USA, Detroit. 2021, 43p. ISBN 978-1-005-59771-9Б.Т

    Utebayeva Botagoz Tleulesovna, is a senior teacher at Kurmangazy Kazakh Na-
tional Conservatoire. Author of over 15 scientific articles. Intonation and its Compo-
nents, Cutting-Edge Science (2017) 30 April - 07 May, Volume 11, Sheffield Science


                                                                                             321
                                                                                                                                                 and Education LTD, 2017. Effectiveness of using musical compositions in teaching
A. Mashimbayeva, A. Baisakalova, A. Kossanova, G. Absatarova, B. Utebayeva, S. Janseitova - Shamanistic ritual ceremony and accompanying music



                                                                                                                                                 foreign language, Professional science, Lulu Inc., USA, Detroit (2021) 43 p.; Features of
                                                                                                                                                 the concept of “Labour” in Kazakh and English paroemias” Actual scientific research in
                                                                                                                                                 the modern world, Journal, Pereiaslav (2022) Issue 10(90); The cultural aspect of ethics
                                                                                                                                                 and moral norms in intercultural communication, Actual scientific research in the mod-
                                                                                                                                                 ern world, International Science Journal, ISSUE 1(93) Part 2 January 2023.

                                                                                                                                                     Janseitova Svetlana Sattarovna is a Doctor of Philology and Professor at the
                                                                                                                                                 Kurmangazy Kazakh National Conservatory, Chair of social and humanitarian disci-
                                                                                                                                                 plines. She is the author of many scientific articles: Musical Terminoid Remarks as a
                                                                                                                                                 Means for Interpretative Reading of the Text and Determinants of Musical Intonation in
                                                                                                                                                 Asta Histriae (2015); World Modeling Element in Spiritual Culture Determining the
                                                                                                                                                 Conceptual Picture of the World of Traditional Kazakh Music in Asta Histriae (2015);
                                                                                                                                                 Emotional and Modal Nature of Musical Image in Middle East Journal of Scientific
                                                                                                                                                 Research (2013); The synthesis of the integrative and form-building possibilities of
                                                                                                                                                 expressive means of music painting and poetry in Astra Salvensis (2018).

                                                                                                                                                    Summary

                                                                                                                                                     This article is a comprehensive study of shamanic ritual music in syncretic unity with
                                                                                                                                                 ritual rite, which is inextricably linked with an ethnic worldview. The aim of this work is to
                                                                                                                                                 identify and substantiate the need to study ritual music based on a fundamentally new
                                                                                                                                                 methodological setting – the study of ritual as an archetype of culture, determination of
                                                                                                                                                 the compositional structure and semantic filling. The research is devoted to the myster-
                                                                                                                                                 ies of the sacred musical world of shamanic ritual, the ultimate state of the shaman as
                                                                                                                                                 a musician, his spiritual world, cultural environment, the understanding of the morphol-
                                                                                                                                                 ogy and semantics of the use of music in ritual, the formation of a cultural code, stylistic
                                                                                                                                                 features, genre forms, musical thinking, musical language, means of expression, indi-
                                                                                                                                                 vidualized and personally colored vocal and instrumental improvisation.

                                                                                                                                                    Riassunto

                                                                                                                                                      Questo articolo è uno studio completo della musica rituale sciamanica in unità sin-
                                                                                                                                                 cretica con il rito rituale, che è indissolubilmente legato alla visione etnica del mondo.
                                                                                                                                                 Lo scopo di questo lavoro è: identificare e sostanziare la necessità di studiare la musica
                                                                                                                                                 rituale sulla base di un’impostazione metodologica fondamentalmente nuova; lo studio
                                                                                                                                                 del rituale come archetipo di cultura; determinazione della struttura compositiva, riem-
                                                                                                                                                 pimento semantico. La ricerca è dedicata ai misteri del mondo musicale sacro del ritua-
                                                                                                                                                 le sciamanico, allo stato ultimo dello sciamano come musicista, al suo mondo spirituale,
                                                                                                                                                 all’ambiente culturale, alla comprensione della morfologia e della semantica dell’uso
                                                                                                                                                 della musica nel rituale, alla formazione di un codice culturale, caratteristiche stilistiche,
                                                                                                                                                 forme di genere, pensiero musicale, linguaggio musicale, mezzi di espressione, improv-
                                                                                                                                                 visazione vocale e strumentale individualizzata e colorata personalmente.




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