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Manage No DI00000284 Country Republic of Korea Author Gulnara Aitpaeva Director, Aigine Cultural Research Center Aiza Abdyrakhmanova Project Coordinator, Aigine Cultural Research Center , Gulnara Aitpaeva , AIGINE CULTURAL RESEARCH CENTER, KYRGYZSTAN
, Kyrgyz Komuz community
Published Year 2017 Language English Copyright Attach File View (ENG)

Description | The Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead. |
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Keyword
- music
- melodies
- classical musical heritage
- musical instruments
- transmitted orally
- mouth pluckng instrument
- metal
- brass
- bronze
- copper
- reed
- instrument
- wooden
- mouth
- honeysuckle
- wolfberry wood
- need of urgent safeguarding
- wood carving
- woodworking
- wood product manufacture
- birch
- cottonwood
- sump-weed
- juniper
- nut-tree
Information source
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EE00000374
Traditional music (kuu) - melodies
Folk tuned melodies (kuu) of different sizes are classical musical heritage of the Kyrgyz, which are performed on national musical instruments. Each of them is exceptional and unique in its own way. The main musical instrument used in solo performance of kuu is a three-stringed plucked instrument – komuz. Well-known folk tuned melodies as Kambarkan, Botoi, Kerbez, Tolgoo and Kairyk have become the basis for emergence of separate genres of kuu and have had their own impact on development of the Kyrgyz instrumental music as a whole. Performance of each kuu is distinguished by the diversity of methods of artistic expressiveness and playing technique. Kuu are divided into program and non- program musical pieces. The bases of program folk tunes are folk life, epical, and historical plots, historical geneses of which are presented before each kuu performance. Non-program kuu reflect certain life circumstances and have their own titles. They reflect deep human experiences about the meaning of life, images of the human. In general, kuu have laid the foundations for development of the Kyrgyz instrumental music. The Kyrgyz instrumental music performed by folklore groups is very popular now. No cultural event is organized without it today, whether it is a festive or a national event. Depending on the complexity of compositions, sounds of typical musical instruments of the Kyrgyz such as komuz, kyl kiyak, temir komuz, chopo-choor, dobulbas and sybyzgy are present in the instrumental music. National musical instruments of the Kyrgyz can be functionally divided into instruments bearing artistic and esthetic function, instruments bearing application purpose, and the ritual ones that combine the first two features. Along with concert and orchestral practice, some instruments of applied and ritual character continue to be used in ceremonial songs up today.
Kyrgyzstan -
EE00000430
Traditional knowledge related to the wood carving and wood product manufacture
Wood carving and wood product manufacture among the Kyrgyz originated in ancient times. An example is the manufacture of wooden parts of the yurt, komuz, which have become the pinnacle of the handicraft creativity of the people. Modern travelers are very familiar with the Kyrgyz yurt, construction of which is made only of wood by the true masters. Wood items decorated with carvings and paintings have been harmoniously fit into the complex of interior of the yurt. These are chests ‘sandyk’, wooden bases on which felt mats, carpets and bedding items are placed; coffrets for food, cloth and horse gear hangers ‘ala bakan’; boxes for dishes, stirrer for kymyz ‘pishkek’, biler for drinks and other liquids, wooden blocks for lamps – ‘chirak paya’. Woodworks are done by the men named as ‘jygach usta’. Materials used for different woodworks depend on elasticity or firmness of the wooden species: birch, cottonwood, sump-weed, juniper or nut-tree. They are cut easily and flexible enough to get desired shape. Instruments used in woodworks are: saw, adze, single bitted axe, knife, hewing with blade in the form of groove, hatchet with plane, wood auger, strop used to make walls of the yurt.
Kyrgyzstan
Stakeholders related to
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SS00000133
Gulnara Aitpaeva
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Kyrgyzstan Expert -
SS00000155
AIGINE CULTURAL RESEARCH CENTER, KYRGYZSTAN
Aigine1 CRC is a non-profit NGO established in May 2004 with the mission of expanding research and education into lesser-known aspects of the cultural and natural heritage of Kyrgyzstan, integrating local and scholarly epistemologies relating to cultural, biological, and ethnic diversities. For the last ten years, Aigine has been studying, documenting, safeguarding, and promoting the vibrant cultural heritage of the Kyrgyz people in the following domains—sacred sites, including their natural, spiritual, and social components; the Kyrgyz heroic epic trilogy (Manas, Semetey, and Seitek)and Kyrgyz folk music. These domains accumulate key ICH elements requiring safeguarding and promotion among younger generations in present-day Kyrgyzstan. Our center has been engaged in a profound and systematic study of sacred sites in Kyrgyzstan since 2005. Today, we have an inventory of 1,075 sacred sites with detailed locations, descriptions, and pictures. This cluster of sites enabled us to define and outline the Sacred Geography of Kyrgyzstan. The study also investigated and unveiled such ICH elements as historical and contemporary dimensions of sacred sites, as well as belief systems, rituals and pilgrimage practices. This data has been published in fourteen books available in English, Kyrgyz, and Russian.
Kyrgyzstan Organization -
SS00000293
Kyrgyz Komuz community
Master Nurak Abdrakhmanov (1947-2014) remained in the memory of modern Kyrgyz as a great composer, performer, and master of making the instrument. He began searching for his komuz teaching system back in the Soviet period when he worked as a music teacher in Ak-Talaa Village in the Naryn region. He was not satisfied with the formal education programs used in the schools. Master Nurak learned early on that that the European twelve-note system did not cover the musical subtleties and possibilities of komuz, saying that the system reduces what is possible with komuz in thirty ways. Master Nurak believed that learning komuz in a traditional and cultural way helps with learning how to play komuz more quickly and easily.
Kyrgyzstan Community
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PI00006404
Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
forming of the cradle’s sides
Kyrgyzstan 2011 -
PI00006405
Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
forming of the cradle’s sides
Kyrgyzstan 2011 -
PI00006406
Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
fixing foundation for a cradle
Kyrgyzstan 2011 -
PI00001239
Craftsmen in the process of making Komuz (traditional musical instrument)
Kyrgyzstan