Article

Name: «The Kozhamyk» genre in the song tradition of Bai-Tayga district of Tuva

Authors: Ekaterina L. Tiron

Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk, Russian Federation

In the section Study of folklore

Abstract: The paper presents the first results of ethnomusicological analysis of Tuvinians Kozhamyk in Bay-Tayga district located in the west of Tuva Republic. The study is in line with the dialect-local approach to the study of the musical folklore of Tuva. The analysis is made of the archive records of 1975, 1976, 1978 and 2001 that involve 43 samples of Kozhamyk recorded from 24 performers. The author presents the references and gives the description of the age and sex characteristics of performers and their residence. To systematize the material and carry out the comparative studies of different local traditions of Tuvinians, the author proposes to use the indexation of typical tunes. The first number of the index indicates the syllabic rhythm type, the second one is for the letter designation of the finalis, and the third one is for the serial number of the tune. As a result of the analysis, 18 typical tunes were revealed. The paper presents their schematic notations. The melodies of tunes are transposed to one pitch level in accordance with the structure and functionality of the scales. The comparison of the records shows that most of the tunes in different collections are not repeated, with 11 tunes of Bay-Tayga Tuvinians recorded in other areas of Tuva. For the first time, an ethnomusicological characteristic of the typical tunes of the Kozhamyk of the Bay-Tayga Tuvinians is given. Namely, the syllabic rhythm and mode organization is described. Of the seven syllabic rhythm types widespread in Tuva, the in the Bay-Tayga district only three are fixed: eq eq : eq e; eeee : eeq q and eeee : eeee. For every syllabic rhythm type in the collection, there are 5–7 typical tunes. The mode organization of the Kozhamyk of the Bay-Tayga Tuvinians is based on the pentatonic scale: hm–D–E–G–A–h–cis2/d2–e2. The scales of the songs consist of 4–7 steps, but most of the tunes have 5- and 6-steps scales. Mandatory for the scales are the steps of tetrachord e–g–a–h. The steps E and G are mostly used as final in the tunes. The repetition of the tone and the movement on the next steps dominate in the melody. The melody structure of the tunes can be end-toend ABCD, end-to-end with the repetition of the initial element at the end of the ABCA, and the re-construction of ABAB and ABAC. In the future, it is planned to map the model tunes of Tuvinians of different regions of Tuva to reveal the dialectal-local specificity of Tuvinian song tradition.

Keywords: song folklore, Tuvan folk songs, Tuvinians, model tunes, local tradition, ethnomusicology

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