Kazakhstan - The Kobyz, the Ancient Viol of the Shamans
Kazachstán
2004
Artist: Smagul Umbetbaev/Saian Aqmolda
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Track list:
01. Erden (Smagul Umbetbaev), 4’43”
02. Aqqu (Smagul Umbetbaev), 3’33”
03. Imanzhusuptyn eni (Smagul Umbetbaev), 4’25”
04. Qambar batyr (Smagul Umbetbaev), 4’05”
05. Syrgaqty (Smagul Umbetbaev), 1’48”
06. Kertolgau (Smagul Umbetbaev), 2’53”
07. Qazan (Smagul Umbetbaev), 4’02”
08. Kekilik (Smagul Umbetbaev), 2’38”
09. Zholdy qonyr (Smagul Umbetbaev), 2’44”
10. Zhalgyz ajaq (Smagul Umbetbaev), 2’53”
11. Abyz tolghauy (Saian Aqmolda), 3’47”
12. Ajrauqtyn aschy kui (Saian Aqmolda), 3’18”
13. Shynyrau (Saian Aqmolda), 2’41”
14. Mylnyq-Zarlyq (Saian Aqmolda), 2’28”
15. Qonyr (Saian Aqmolda), 3’08”
16. Zholaushynyn qonyr kui (Saian Aqmolda), 2’58”
17. Zhez-kiik (Saian Aqmolda), 2’33”
Personels: Francoise Grund (Artwork), Pierre Bois (Producer), Pierre Bois (Pre-Mastering), Smagul Umbetbaev (Vocals), Smagul Umbetbaev (Kobyz), Frédéric Léotar (Liner Notes), Saian Aqmolda (Kobyz), Alim K. Baïgarin (Engineer)
The term kobyz is a linguistic archetype found in varying forms among most of the Turkic-Mongol peoples to designate various types of instruments: the viol (Mongol morin-xuur, Tuvan xyl-xomus, Kazakh and Uzbek kyl-kobyz), the lute (Khakas koms/xomys, Kirghiz komuz), the Jew’s harp (Mongol aman-xuur, Tuvan, Yakut xomus, Kirghiz komuz, Kazakh shan-kobyz) and, in an older form, the drum (Altai kobuz). This generic dimension of the term kobyz reveals a conception of music that goes beyond the shape of the instrument and focuses on the practice within which it is used. We know that all of the nomadic, pastoral societies that adopted this terminology are or were shamanistic societies, and that the kobyz was the shamans’ prerogative. The kyl-kobyz (kyl meaning literally “horse hair” referring to the strings of the instrument) is, along with the lute dombra, the most highly developed instrument in Kazakh folk music.
The myth of the creation of the first Kazakh musical instrument – the viol kobyz – is linked to Korkyt Ata, the ancestor of all of the baksy (shamans). This legend, which is very widespread among the Turkic peoples, tells of the invention of music, the purpose of which was not amusement but rather overcoming death. It has survived in the Kazakh culture to this day, as has the sacred image of the kobyz.
When Korkyt was twenty years old, a spirit came to him in a dream and told him that he would not live beyond the age of 40. Korkyt then set off in search of immortality. He mounted his camel, Zhelmaia (literally “fast as the wind”), and went towards the rising sun. He saw a boy with blue eyes who was standing and digging a grave. Korkyt asked him what he was doing. The boy told him that he was digging a grave for Korkyt. Korkyt then fled towards the setting sun. A young man on his knees digging a grave was waiting for him there. He headed north and saw an adult man with blue eyes and greying hair. This man was in a grave up to his waist. Korkyt then went south and saw, in a pit, an old man with familiar blue eyes waiting for him. In the four corners of the world death was waiting for him and a grave was ready to receive him. He returned to his home on the banks of the Syr-Darya and made the first kobyz. To do this, Korkyt sacrificed his camel and tightened its skin on the new instrument. Then he put down his carpet above the river, sat down on it, and started playing music day and night. The music, heard for the first time, charmed all the living creatures that gathered to listen. Death also came, and as long as the music was playing it could not take Korkyt. One day Korkyt put down his kobyz to drink and death came and took him into the spirit world.