User:Makhmut Daniyal/sandbox

Kazakh national musical instruments
The musical treasure of Kazakh nation that has been accumulated for many centuries is a vast, rich legacy,which is straightly connected with religious views of nation,that are heavily influenced by Zoroastrianism.Kazakh ancestors learned that it is possible to produce sound from a wide variety of objects,like: stones, trees, plants, animal skins, bones, horns, intestines,they made simple musical instruments. They were used not only in entertainment purposes and in also in shamanism rituals,which was one of the most significant events in religious customs of the Kazakhs.

Rebuilding the Kazakh "treasure"
It was Bolat Shamgalievich Sarybayev, who was the first person to rebuild the instruments of the Kazakh culture and gained a great deal of experience in their extensive propaganda. Bulat Shamgalievich Sarybaev has been collecting ancient instruments since 1960. At that time the teacher of Almaty Conservatory B. Sarybaev's house has become a unique museum. More than 300 sets of national instruments were gathered there. The researcher has discovered, studied, improved and performed ancient instruments from different regions of the country and trained his disciples. In 1968 an ensemble of ancient national musical instruments was organized. B. Sarybayev divides the instrument into the following types: swaggering, stinging, sliding, stinging, strings, trunks, trunks. " True Kazakh is not Kazakh, True Kazakh is dombra ", as the poet sings, is undoubtedly a dombra, which can accurately depict the centuries-old national values ​​and world outlook of Kazakhs nation.

Dombra
Dombra is the most popular folk instrument in Kazakhs society.The history of dombyra's origin is spreading for dozens of centuries.here are two types of dombra – western and eastern. Different shapes of dombra were caused by the features of two performance traditions. In order to perform fast, masterly tokpe-kuis it was necessary that the left hand could easily move and slide along the neck. That is why the neck of western dombra was thin and long. This technique could not be used when playing the eastern could not be used when playing eastern dombra with wide short neck. Sizes of instruments and shapes of the bases had an influence on the force of the sound: bigger size means louder dombra. The sound also depended on the technique of the right hand: in tokpe-kuis the sound was extracted on both strings with strong hand movements, and in shertpe soft plucking of strings with certain fingers was used. Thus, there is the close link between the shape of dombra and "kuis"performed. Dombra could be not only two-string but also three-string. In the past three-string dombras could be met in different regions of Kazakhstan, at present they remain only in Semipalatinsk region.

Kobyz
Kobyz is a bow instrument with two strings. It was hollowed out of one whole wooden piece – juniper (arsha), maple, pine-tree and birch. The instrument consisted of three parts: head (bas), middle (base is keude) and lower part (ayak). The base is made in the form of an open bowl stretched downside. This lower part of the instrument is covered with leather (sounding board). The support (tiek) is established on it. Even in our days, the strings for kobyz are made of horse-tail. The bow has an arched shape and it looks like a bow weapon: the bun of horsehair is tied to both ends of the bent branch and fixed by the strong thread of camel wool. The performer enfolds the bow from aside with his hand. The shaman instrument looked quite strangely: there were owl’s feathers on the head, various metal plates in the form of horn curls and ringing bird images were hanging around the head; the mirror was located on the bottom of the bowl. All these were not just decoration but the shaman signs-symbols. Kobyz possesses unusually rich and colourful timbre.

Sybyzqy
Amongst the wind instruments sybyzgy was the most favourite instrument. It entered the musical life of the people. Sybyzgy helped the shepherds in solitude at the far-away grasslands. It brought joy to people during the evening hours of rest when the musicians were telling and playing beautiful ancient legends and stories. Sybyzgy-players were always welcome to all toys and feasts. Wide popularity of sybyzgy was connected with the simplicity it was made. Sybyzgy was made of hollow reed tube, on which three holes were cut. It was easy and fast to make sybyzgy, but it was very difficult to play it. Sybyzgy kuis were usually two-voice melodies: the first voice was extracted from the instrument and the second voice represented the guttural sound of the musician-performer. It was necessary to master the technique of simultaneous performance of both voices. Besides reed sybyzgy there were also wooden sybyzgy.