Reflection of Buryat cultural traditions in the compositions for yataga of l. N. Sanzhieva

Abstract

The purpose of this article is to review the compositions for the yataga by the Buryat composer L. N. Sanzhieva in connection with national culture. This traditional instrument became firmly established in the musical life of Buryatia in the 1970s, and a special performing class was opened at the East Siberian Institute of Arts. The analyzed collection “Compositions for yataga” (2012) is intended both for improving the skills of yataga players in the educational process and for concert practice. The connection of the plays and concerts of the collection with images of nature (“The Call of Izyubr”, “Awakening”, “What the Daurian lily sing about”, “Deer Horn”), historical characters (“Yurt in the steppe distance”), national cults and legends (“Traveling through Tunka”, “Altan Mundarga”, “Kharagun”). The predominant reliance of the attack part on the angemitonic pentatonic minor mood, widespread in Buryat traditional culture, in combination with seven-step scales in the piano or orchestra parts, was found. The synthesis of typical intonation phrases with the author’s methodological findings testifies to the creative ingenuity of L. N. Sanzhieva, who skillfully combines traditional musical cultural heritage with the author’s imagination. The following collections by the Buryat author, intended for iochin, limba, khur and morin-khur, contribute to the expansion of the imaginative sphere and the search for new musical language possibilities. The performance of the composer’s works in concert and educational practice is an important evidence of their relevance and national recognition.