Абай қҰнанбаевтың Әлемі мен шығармашылығына жастардың КӨЗҚарасы
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, where there is no concretization of time and place of performance, and songs are presented by means of information technologies, and direct , in which the above concretization takes place, i.e. the song is performed at a specific place at a specific time. The performer, author, and listener are considered to be participants in song discourse which are usually characterized by differences in age and status-role parameters. The author and the performer of a song can be and often are represented by the same persons. In such cases, they are called singer-songwriters. The goals of song discourse include the following: conveying to the listener the author's ideas, his intentions, thoughts, providing an emotional impact on the listener, shaping his worldview, social position, attitude to the world around him, value orientations, etc. The values reflected by the author in his work can take various forms varying from positive (peace, love, kindness, friendship, freedom, etc.) to destructive (hatred, cruelty, anger, contempt, etc.). The functions of song discourse were described in the study by L.G. Dunyasheva [4], dedicated to the topic we are considering. She describes the following functions: (1) emotive , which expresses the author's assessment and attitude to the subject of the message; (2) conative , whose purpose is to influence the addressee by means of a message; (3) referential , which consists in the transfer of substantive and factual information from the sender to the recipient; (4) poetic , fulfilling an aesthetic role and regulating the use of means inherent in poetry in a song in order to give it imagery and originality; (5) phatic , aimed at maintaining communication, performed through the use of various linguistic means, indicating the dialogic nature of communication. Musicologist Bisenova G.N. subjected the composer's musical heritage to a special scientific study. Based on the analysis of individual songs, the most popular among the public, she gave a general characteristic to the work of Qunanbaiuly, and also determined the stylistic origins of his works both in Kazakh folk song and in expressive melodies of Russian tunes. Her research was based on archival materials and testimonies of close relatives of the poet, singers and writers. And she also notes that such a synthesis led to "the unification of these sources into a deeply national whole and thereby enriched the Kazakh folk genus." [5, p. 11] The melodies of Abai's songs, according to the most widespread opinion, were intended for assimilation and memorization of new poetic sizes, rhymes and stanza forms introduced by Abai into Kazakh versification. Although this does not fully explain the reasons for the appearance of Abai's songs (since it was not only in the form of the verse, but also in what the poet wanted to say in his poems), it should not be ignored in silence. First of all, we should mention the wonderful song "Segiz-ayak". Before Abai, the most common form of versification was eleven- feet. The music of most composers of that time matched many texts. Abai's songs are deprived of such freedom. “Segiz-ayak”, for example, cannot be sung to the tune of the song “You are the pupil of my eyes”. We first meet such an indissoluble unity of text and music, words and melody in Abai. Abai's songs are characterized by the stability of the text. This was a new phenomenon in songwriting. Abai came to music, to songs from poetry, from text. This is especially noticeable in his first songs "The bird of the soul rushes upward" and "I saw how the birch fell." Elements of originality are already visible in these songs. In the foreground, Abai put the lyrics of songs, without going beyond the intonation of Kazakh music. 135 «Абай Құнанбаевтың әлемі мен шығармашылығына жастардың көзқарасы» атты республикалық ғылыми онлайн-конференция Abai's translations from "Eugene Onegin" entered the Kazakh folk song tradition as a popular material. At wedding parties, Kazakh girls and boys arranged song competitions among themselves, using the material of the monologues of Tatyana and Onegin for this. Old singers also sang "Tatiana's Letter". In the subject of Abai's song lyrics, a significant place is occupied by lyrics, which, in addition to the above-mentioned translations from Eugene Onegin, consist of love songs, descriptions of nature and songs with a civil theme - reflections on the phenomena of life, instruction, morality. It is important for us not only to what extent Abai's songs reflect the style of the Kazakh folk song and contain the development of this style and its enrichment with the style of Russian democratic songwriting. The most significant for us is how popular they are among the Kazakh people and how they are accepted. And here we must say that they enjoy exceptional love among the Kazakh people. Diverse in genres, rich in content, simple and intelligible in melody and in form, they became widely popular among the Kazakh masses. Thanks to this, his musical heritage has come down to us, which was a very significant contribution to the development of musical culture. And it is no coincidence that akyns, professional singers and amateur singers of both the older generation and young people sing Abai's songs, keep them in their memory. It is not without reason that his works are considered national, spiritual wealth, the pride of the Kazakh people, the property of all Turkic-speaking peoples. Recognition of his talent and services to all mankind was the declaration of 1995 by UNESCO - the year of Abai all over the world. The solemn celebration of the 150th anniversary of the birth of Abai Qunanbaiuly was the first jubilee event for the literature and culture of Kazakhstan, which was held under the auspices of UNESCO. And the fact that in 2020 we are celebrating his 175th anniversary is nothing short of another confirmation of the significance and majesty of the great Abai. References: 1 URL: https://kazpravda.kz/en/news/president/rk-presidents-decree-on-celebrating-the- 175th-anniversary-of-the-birth-of-abay-kunanbayev 2 Красных В.В., Этнопсихолингвистика и лингвокультурология. Лекционный курс. М.: Гнозис, 2002. – 136-150 с. 3 Плотницкий, Ю. Е. Лингвостилистические и лингвокультурные характеристики англоязычного песенного дискурса: дис. ... канд. филол. наук: 10.02.01 / Плотницкий Юрий Евгеньевич. – Самара, 2005. – 147, 183 с. 4 Дуняшева, Л. Г. Песенный дискурс как объект изучения лингвокультурологии / Л. Г. Дуняшева // Актуальные проблемы романских языков и современные методики их преподавания: Материалы Международной научно-практической конференции (22-23 октября 2015 года). –Казань, 2015. –С. 190-197 5 Бисенова Г.Н. Автореферат канд.диссерт.-А-Ата, 1966.-С.19; жүктеу/скачать 1,97 Mb. Достарыңызбен бөлісу:
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