Исследования

What do Music and AI have in Common? Controlled Generativity in Global and Kazakhstani Art (Ru)

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Abstract
This article examines the extent to which contemporary practices of artificial intelligence (AI) in music continue the line of formalization of the compositional process established in the 20th century. The goal of this work is to justify understanding artificial intelligence not as an external author, but as a compositional technique comparable to historical methods of organizing musical material. The methodological frame combines a poststructuralist optics of authorship (Roland Barthes, Michel Foucault) with the dichotomy of the rational and the sensual principle (Alexander Sokolov). The analysis covers five techniques of the previous century: serialism, aleatoric music, stochastic music, minimalism, and poly-technique. To perform their comparison, three observable categories are defined: algorithmicity (the degree of explicit procedural specification), generativity (modes of production), and controllability (levels and methods of parameter control). Case studies include: Anton Webern’s Variations, op. 27 (serial technique); John Cage’s Music of Changes (controlled aleatoric music); Iannis Xenakis’s Achorripsis (stochastic music); Steve Reich’s Piano Phase (minimalism); and opera Yer-Tostik of Alexander Manotskov (poly-technique). The study shows that: serial technique maximizes controllability via pre-fixed operations on the row; controlled aleatoric music embeds randomness within a system of rules; stochastic music relocates randomness to the stage of composition and calibrates it statistically; minimalism demonstrates processual generativity from simple operations; and poly-technique integrates heterogeneous techniques within a unified procedural core. The results suggest that contemporary AI models radicalize principles already present in musical practice (working with rules, probabilistic profiles, and processuality), thereby creating a productive framework for further reflection and integration into the academic compositional practice of Kazakhstan.

Ash, Dombra, and the Word: the Novel as a Chronicle of a Fading Tradition (Ru)

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Abstract
The article analyses Talasbek Asemkulov’s novel as a musical archive, an ethnographic text, and a form of aesthetic memory. Its novelty lies in a cross-disciplinary model of verbal–musical hermeneutics that aligns descriptive episodes, technical terminology and figurative metaphors with modal–rhythmic formulae, articulatory technique, and modal–rhythmic models of Kazakhstan’s traditional music. The material is organised on three levels: (1) textual identification of musically salient markers in the prose; (2) their mapping onto the intonational and metrorhythmic patterns of the dombra idiom; (3) hypothesis testing through comparative analysis of variants and schools, including areal–stylistic distinctions. The study formalises a “novel-as-archive” reading protocol with operational units (narrative cue – intonational gesture – performance decision), proposes a typology of textual indicators for technique and mode–rhythm, introduces, for the first time, a comparative commentary on vanishing practices documented in prose, and sets out applied pathways for reconstruction and pedagogy. Case analyses show that “the word” fixes outlines of form, the character of sound production, and timbral dramaturgy, while refining genre–stylistic attributions. The analysis yields new data added to the corpus of knowledge on Kazakh traditional music. Among the conclusions, a new perspective emerges for the humanities: the formation of historically informed performance (HIP) and the possibility of reconstructing lost elements of musical memory without compromising authenticity.

Myth 2.0: Multimedia Projects of Central Asia

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If you think of myth as something long left behind—lost in the shadows of antiquity, hovering at the threshold of literacy, wrapped in archetypal mist—it might be time to take a closer look at multimedia projects from Central Asia. In many ways, myth is still alive here. It has simply changed shape—shedding its skin, adopting a new interface, a new medium. Or so it strongly appears. Instead of firelight, we now have projection screens; instead of the shaman’s drum, we hear tactile acoustics and subwoofers embedded in the floor. The caves of old have become the black boxes of galleries or the blank void of a stage. Paradoxically, the more technologically advanced the artistic language becomes, the more magic it seems to contain. Once again, we find ourselves searching for archetypes—only now they come to us in the form of glitch graphics, choral breathing, generative patterns, and bass vibrations that travel straight through the ribcage. In this sense, multimedia projects become a kind of modern-day mystery rite. For thirty or ninety minutes, the audience is no longer an audience, but a participant in a ritual that requires neither belief nor understanding—only presence. These rituals are gaining traction across Central Asia, and it may well be this subtle, unspoken function that explains the growing appeal and cultural value of multimedia art in the region.

A Kazakh “Gold Rush”: How Modern Nomads Sound

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Today’s music scene in Kazakhstan brings to mind the Gold Rush of nineteenth-century America: next to already mining the precious metals of Dimash and Imanbek, there are hundreds of daring musicians digging into a variety of genres like rock, pop, jazz, fusion, techno, indie, and ethno.
The first sprouts of the present musical context emerged thousands of years ago; nomads, for whom oral culture was part of their nature, equated words and music to precious “pieces of fiery lava” (Talasbek Asemkulov). Those musicians who were considered to be saintlike characters, or “the key social factors,” are renowned to this day, among them Korkyt Ata, who was held to be “neither living, nor dead” (ninth and tenth century or earlier), Ketbuga (twelfth century), Asan Kaigy (fourteenth century), Kurmangazy Sagyrbaev (nineteenth century), and Sugur (twentieth century). Striking as it is, many of the elements and principles of this ancient music are at work even today.

Exploring Inclusive Evolution in Music Academia: Experimental Practices in Contemporary Music

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Abstract.
For individuals with disabilities, music lessons often serve as effective art therapy, a prevalent approach in Kazakhstan and globally. However, what if a student aspires to pursue music professionally? Are contemporary methods equipped to provide comprehensive music education to everyone, regardless of their physical or cognitive limitations? This paper examines inclusion issues in modern professional music education and practice. It suggests that contemporary music offers a pathway for the full participation and development of musicians with various disabilities, including conditions affecting strength, energy, or alertness, such as ADHD and multiple disabilities. Inclusive music teaching methodologies extend beyond technical accommodations in classrooms; they also involve the psycho-emotional literacy of educators and the use of adapted systems like Figurenotes, improvisation techniques, and specialized devices. This study analyzes available technologies, including music applications, that enhance contemporary music education and practice. The collaboration between contemporary music and inclusive practices holds potential for fostering new musical thinking, advancing professional music education, and benefiting society. The authors translate academic discourse into practical application, showcasing results from a collaboration between disabled musicians and a contemporary music ensemble at the Edinburgh Festival 2023. Through this practical experience, the paper aims to develop experimental musical practices and inclusive perspectives in education, science, and performance, highlighting the transformative power of inclusive evolution in contemporary music.

Traditional Concept and Contemporary Compositional Techniques in Artyk Toksanbay's Quartet (Ru)

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Abstract
How do new compositional techniques transform in 21st-century Kazakhstani music through the prism of individual authorial style? The subject of this research includes the evolution of musical language and compositional writing methods. One of the key characteristics of contemporary music is its reference to traditional concepts. Elements such as quotations from folk-professional kyui, imitation of folk instruments, jazz elements, polymeter, and modern compositional techniques coexist within this approach. Artyk Toksanbay’s work My Respect to You, Mr. Tattimbet vividly illustrates the development of the chamber-instrumental genre at the present stage. The article analyzes Artyk Toksanbay’s composition from the perspective of the interaction between two poles: on one hand, kyui serves as a crucial component of the piece; on the other, minimalism is employed as a compositional technique. Minimalism manifests through the use of pattern-based musical material development. Based on an analysis of the composition performed at a contemporary music concert, the study highlights how figures, genres, and concepts of traditional music continue to serve as sources of inspiration for modern composers. In the process of creative engagement with these elements, composers incorporate new methods and techniques, shaped by both evolving artistic demands and their distinctive compositional styles. The distinctive features of A. Toksanbay’s compositions illustrate various processes in the development of new musical techniques. The study of contemporary chamber-instrumental works is a crucial stage in understanding and analyzing the stylistic tendencies of modern musical culture, contributing to a deeper comprehension of the processes shaping contemporary musical art.

The Features of Media Art Projects in the Practice of the Kazakhstani Music Scene (Ru)

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Abstract
Electronic music, which has been evolving worldwide for over a century, developed predominantly within mass genres in Kazakhstan. The first DJs emerged in clubs in the last decades of the 20th century, and the most progressive among them started experimenting with various musical collectives. In the 2010s, techno clubs were established, specialized festivals and media projects began to take shape.
In academic music, interactions with electronic music and electronic musical instruments have been sporadic. This article explores the peculiarities of such media art projects and the technologies governing them, drawing from practical authorial experiences.
The introduction outlines the core problematics, encompassing issues of artistic value and the specificity of media art projects. It posits the hypothesis of the curator as a central figure endowed with additional functions when collaborating with music. The methods section presents the essence of an interdisciplinary approach that adapts methods from various knowledge fields, such as art history, management, musicology, cultural studies, and more. The research sequence is informed by leading theorists of art and media history, including Mario Costa, Fred Forest, and Oliver Grau. The results and discussion section provides an analysis of specific media art projects, including “Ethnotronica” (2022) and “Muzyka Osushestvleniya 41 – MO 41”, an inclusive project in collaboration with Drake Music Scotland (Scotland, 2021-2023). All three projects were conducted without state funding, representing the work of independent organizations. They involved collaborations with electronic musicians and modern technologies, managed by a new type of manager – the curator. These projects fall into the category of media art projects and contribute to the experimental sphere of contemporary music culture in Kazakhstan. The conclusion presents seven key theses that summarize the research findings and outline future prospects.

Perspectives of Grassroots Projects in the Music Sector of Creative Industries of Kazakhstan (Ru)

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Abstract
The recognized importance of creative industries currently leads to the emergence of a number of managerial, research, and creative solutions both at the state level and in real practice. The Introduction indicates the controversy of the modern conceptual terminology of the industry, and considers such a basic and obligatory phenomenon for the existence of the creative sector as the GRASSROOTS movement and independent projects in the field of music. Methods are based on empirical research, case study tools are key. The introduction of the GRASSROOTS concept is proposed for the first time; the history of this phenomenon is considered in relation to the music of Central Asia. The Results and Discussion contain the author’s analysis of the perspectives for GRASSROOTS in the music sector of the creative industries of Kazakhstan. The distinctive characteristics of the concept of GRASSROOTS movement or project, which is presented as a cultural phenomenon and successfully exists in developed countries (America, Europe, Great Britain), are initiation by musicians/communities and functioning without the support of the state or large organizations. Five genre spheres of the music sector are considered as key ones: traditional music (ethno / world music), rock and jazz projects (rock & jazz music), the emerging techno school (techno music), indie music, classic (contemporary & classic music). The study of the experience of independent music projects development allows us to identify the effectiveness and perspectives of this direction, their advantages (freedom of creative expression of will, experiments, and consonance with the most progressive international projects). The main results and summary are formulated in the Conclusion in nine points that determine the influence, quality and perspectives of independent music projects for the development of creative industries in Kazakhstan. It has been proven that the signs of the emergence of grassroots movements within the four basic genre spheres contain a constructive potential for disseminating the products of the music sector of the country’s creative industries in a globalizing world.

Chamber Opera "Er-Tostik" by A. Manotskov: on the Issue of Cultures (Ru)

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Abstract
The commitment of composers to synthesize elements, genres, traditions of different cultures led to the appeal to the analytical understanding of this issue. In this work, the task is to consider the ways of interaction of cultural texts on the example of the Kazakh chamber opera "Er-Tostik" by the Russian contemporary composer Alexander Manotskov, staged at the theater "ARTiShOK". The uniqueness of the work lies in the fact that the nomadic worldview, meaningful within the framework of the Kazakh folk tale, is interpreted through the «language» of new compositional techniques characteristic of the authors of the modern and postmodern era. Given the polytextual specificity of the work, which involves the text of ethnic archaic, elements of traditional musical thinking, modern methods of composition, the most appropriate methodology in its analysis, understanding, evaluation, we find in the theory of semiotics. In this sense, "Er-Tostik" manifests itself as a text with all the qualities inherent in the text of culture. The conducted semiotic analysis showed that Manotskov's work reinforces the current global trend of modern theater, when the creative search of the composer, his individuality and the concept that allows him to operate freely within a given genre are put to the fore. At the same time, this phenomenon is unique for the Kazakh musical theater, where for the first time the work of the archaic layer of the archaic layer is interpreted by the techniques of the postmodern era, giving rise to an organic synthesis of ancient and modern cultures. Keywords: Er-Tostik, chamber opera, Alexander Manotskov, modern theater, synthesis of cultures.