Aizhan S. Bekenova1, Gulnar B. Abdirakhman2, Diana Ye. Mahmood3, Arita B. Baisakalova4 & Alma A. Abatova5
1Doctoral Student, Kazakh National Conservatory, Almaty, Republic of Kazakhstan.
Email: aizhans.bekenova@mail.ru
2Candidate of Arts, Kazakh National Conservatory, Almaty, Republic of Kazakhstan.
3Doctor of Philosophy (Ph.d), Kazakh National Conservatory, Almaty, Republic of Kazakhstan.
4Professor, Kazakh National Conservatory, Almaty, Republic of Kazakhstan.
5Associate Professor, Kazakh National Conservatory, Almaty, Republic of Kazakhstan.
Volume 12, Number 6, 2020 I Full Text PDF
DOI: 10.21659/rupkatha.v12n6.17
Abstract
Starting from the past century, viola began to draw much interest of musicians, performers and musicologists, as it gradually acquired a new role of a solo instrument. Although these days more compositions appear written especially for this instrument, the independent role of viola was always accompanied more with transcriptions and adaptations of works composed for other related instruments, mostly violin, cello, etc. This article looks into the history and perspectives of making transcriptions for the viola in the Kazakh musical culture. The study also involves the analysis of Kazakh viola schools with a focus on their founders. Questions of the history and theory of viola transcriptions are still waiting for detailed scientific understanding. The work of musicians who successfully applied to transcriptions and adaptations in their practice and formed the technology of this creative process has not been sufficiently studied. It requires more in?depth study and can be used as a practical guide for the work of other musicians. This determines the relevance of this article.
Keywords: transcriptional work, musical arrangement, Fudiman, viola school, folk music, repertoire.