Абай қҰнанбаевтың Әлемі мен шығармашылығына жастардың КӨЗҚарасы

«Абай Құнанбаевтың әлемі мен шығармашылығына жастардың көзқарасы» атты республикалық ғылыми онлайн-конференция 
was transcribed by Qunanbaiuly into the Kazakh language, after which it became the folk song 
"Qarańǵy túnde taý qalǵyp”. 
A poetic text is a unique kind of discourse, a special form of linguistic creativity. As a rule, 
the concept of poetic discourse is considered as “a discourse of poetic texts belonging to 
representatives of a particular national-linguistic-cultural community and intended for 
representatives of the same national-linguistic-cultural community” [2, p. 136-140]. This 
definition is expanded by N.V. Mongileva and is interpreted by her as an indivisible unity, 
which is realized as a result of historical and sociocultural processes in the form of poetic texts 
created by an individual subject or a group of subjects who have the ability to perceive and 
transform reality from the standpoint of the inner state and the author's skill into an artistically 
finished whole. This whole is presented to the reader or listener in the form of poetic texts 
possessing eventful, sociopsychological, figurative and poetic information with a value that does 
not lose its power, which the recipient (listener or reader) is able to generate in accordance with 
his value system. 
Abai was an innovator of Kazakh poetry. He introduced new verse sizes and rhymes into Kazakh 
versification. Among his works, there are over 200 poems, 56 translations, 30 melodies. The most 
famous and fundamental work of Abai is considered the "The Book of Words" or "Words of 
Edification". The poem includes 45 short parables and philosophical treatises, which raise the 
problems of education and national worldview, morality and law. Many conclusions from the book 
are still relevant today, as they accurately describe the old, unrooted problems of the people. Since 
its release the book was translated into a plethora of world languages, including Korean, Chinese, 
French and so on. This goes to show just how important his legacy is. 
Poetry and song lyrics have a lot in common when it comes to their structures. However, 
songs have a great advantage over poems: longevity. Of course, there are a large number of 
poems that have stood the test of time and are considered classics. However, not everyone will 
be able to recite at least a few of them. Songs, on the other hand, when accompanied musically, 
tend to be easier for listeners to comprehend and remember. This is due both to the fact that the 
synthesis of music and lyrics is more easily perceived by ear and that it is much more 
widespread among the masses: songs can be heard on the radio, at concerts, at various public 
festive events, they are also easily available on the Internet, on television, etc. That is why a 
person appears to be more exposed to poems set to music than to those existing independently. 
Thus, in view of the similar structure of poetry and song lyrics, as well as the musical nature of 
Abai, it would be fair to move from the notion of poetic discourse to that of song discourse. 
Abai Qunanbaiuly is known not only as a great Kazakh poet-educator, but also as the author 
of popular melodies. In contrast to the studies of poetic creativity, the worldview of Abai 
Qunanbaiuly, which have deep roots and a rich arsenal of scientific works, musical Abai studies 
have not yet received a comprehensive coverage of the issue. And nevertheless, among all that 
volume of musical heritage left by Kazakh folk singers-composers, it was Abai's songs that 
received the most complete development in historical, musical-aesthetic and theoretical aspects. 
The poet's musical gift was nurtured on a deeply popular basis and was reflected in lyric songs 
that express the poet's worldview and his spiritual mood. Abai's songs "Kózіmnіń qarasy", "Ne 
іzdeısіń kóńіlіm", "Aıttym sálem, Qalamqas", "Jelsіz túnde jaryq aı" and others introduced new 
melodic rhythms, new principles of using the artistic and expressive means of the native language 
into folk songwriting. A connoisseur of Kazakh folklore and folk music, Abai highly appreciated the 
work of the nugget poets who came from the people - Birzhan sal, Akan Seri, Tattimbet, Zhayau 
Musa. His lyrical and heartfelt songs significantly enriched the songwriting of the Kazakh people, 
introducing new rhythms, shapes and sizes, new principles of using the artistic and expressive means 
of the language. The melodiousness, compositional content of Abai's songs is a new page in the 
Kazakh musical art. Abai did not only write songs. He thought a lot, reflected on the nature and 
forms of songs, on music, on the purpose of music, on the role of songs in human life. He expressed 
many deeply philosophical judgments about music. He believed that the song 
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«Абай Құнанбаевтың әлемі мен шығармашылығына жастардың көзқарасы» атты республикалық ғылыми онлайн-конференция 
accompanies a person all his life. Joyful, funny songs are sung when a person is born, and when 
he dies, sorrowful, sad songs sound. He had no musical education, nor did he know musical 
notation. In this respect, he had no advantages over the folk composers Birzhan, Akan Seri and 
Zhayau Musa. Composing his songs, he, like them, could only rely on personal musical abilities, 
on his voice and dombra. At the same time, the form, melody and rhythm of Abai's songs are 
very different from other folk composers. 
Abai did not travel, like most of the Kazakh folk composers, with dombra in the auls, he was 
not a singer for a wide audience. However, he sang his songs to close friends and professional 
singers and akyns who often visited his aul, and they included his songs in their repertoire and, 
constantly traveling around the auls, distributed them among the people. The melodies of songs 
and instrumental pieces, learned by ear, deviated significantly from the original when 
performed, but the songs of Abai, like other outstanding folk composers, although they had 
performing options, did not lose their author's style. 
What he wrote could then be read by a very limited circle of educated Kazakhs, and only in a 
manuscript, since until 1909 Abai's poems were not officially published. Thus, the need for a 
song form in such conditions manifested itself, and Abai himself perfectly coped with this task, 
having composed music to many of his poems. He created real masterpieces of musical art, in 
which the skill of the talented composer is felt. The oral form was almost the only way to spread 
poetry at a time when the Kazakh people were far from literate. The song, being the oldest form 
of poetry dissemination, is a priority in relation to recitation, which is rather unknown to folk 
performance. It is fair to assume that, since the melodies of Abai, composed before 1889, did not 
reach us, the poet initially selected familiar tunes of folk songs to the poems. This was pretty 
much enough until Abai began to translate “Eugene Onegin”. The need to convey the "moral 
ideas" contained in Pushkin's novel, the "acoustic richness, melody and harmony" of the Pushkin 
language, the associated verse sizes, rhymes, and stanza forms that are new for Kazakh poetics 
should have caused completely new melodies, composed for singing a certain verse. 
Abai began his work on the translation of “Eugene Onegin” with “Tatiana's Letter”. Here, we 
should keep in mind that in order for a poem to be considered a song, it requires the presence of 
an internal euphony or melody, a rhythmic outline, as well as a specific construction of the 
stanza. Obviously, guided by this principle, in his translation Abai did not keep the original 
fourteen-line stanza. "Letter" is translated in quatrains with cross rhyme. The reason for that did 
not lie in the difficulties of translation, but by the desire to fit the text into a verse song form that 
is most convenient for performance. Abai’s melody for "Letter" is naturally divided into four 
phrases, closed with a smoothly sung ending. One can barely name another Abai song, which 
would be as widespread and enjoy such love of the general public as "Tatiana's Letter". 
Subsequently, Abai was engaged in the translation of “Onegin's Answer to Tatiana”, 
“Onegin's Letters to Tatiana” and “Tatiana's Words”, the latter having gained popularity akin to 
“Tatiana's Letter”. Unfortunately, we have not received an independent melody for it. Abai in 
his translations tried to fully describe the image of Onegin, even writing two poems of his own 
related to the character. Thus, it becomes obvious that in the process of retelling and narrating 
"Eugene Onegin" Abai created lyrical melodies that most easily became songs. 
In general, women's themes occupy a significant place in Abai's work. He reveals in a new 
way the spiritual world and innermost thoughts and feelings of Kazakh women and girls and 
fights for the equal position of women in society and family. In the image of Pushkin's Tatyana, 
Abai saw the collective image of a Kazakh girl, like Tatyana, who did not have the opportunity 
to realize her dreams and her cherished desires. 
Song discourse is one of the central means of preserving and disseminating the cultural heritage 
of many peoples, which demonstrates social trends, national views, stereotypes and values, cultural 
principles of behavior, passed down from generation to generation. Linguist Yu. E. Plotnitskiy 
considers song discourse as "a generic concept in relation to the texts of song lyrics, characterized by 
certain linguistic features that reflect the culture of representatives of a particular 
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«Абай Құнанбаевтың әлемі мен шығармашылығына жастардың көзқарасы» атты республикалық ғылыми онлайн-конференция 
country" [3]. Song discourse is also an inseparable part of the national heritage of any society, 
and it is the song that is the main mediator, assistant in revealing the spiritual world of the 
individual, as well as his views and attitude to the world around him, and to himself. In addition 
to the national component of many peoples, songs also help to learn their language and its 
characteristic features and means of expressiveness in the text. 
While investigating the problem of song discourse, researchers have identified the following 
extralinguistic characteristics: 
Chronotope, realized in two models: 

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