Учебное пособие 1711

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

The name of the ballet of Pyotr Ilyich Tchaikovsky «Swan Lake» is mentioned in 3 contexts. Let’s consider one of them:

Usually after « S w a n L a k e » Danilov, calmed, brightened up, fell asleep quickly [1*].

Influence which music of the ballet «Swan Lake» makes on listeners is characterized by means of participles «calmed», «brightened up» (meaning «expressing joy, satisfaction» [1**]), and also the combination [verb + adverb] «fell asleep quickly».

The sign of pacification, wellbeing, tranquility and comfort reached thanks to a melody of «Swan Lake» is staticized.

The following nomination «The Marriage of Figaro» is used also in 3 examples in the text of the novel «Danilov the Violinist»:

…he after some fluctuations has decided to listen to « T h e M a r r i a g e o f F i g a r o » from the hall. And when he began to listen, understood that he didn’t know this music properly! [1*];

In the pit Danilov played « T h e M a r r i a g e o f F i g a r o » tens of times, but from the hall he listened to it for the first time. First he sat, having opened a mouth, then began to sing. He knew the text of the opera by heart. But Danilov not only sang, but also several times, having forgotten, addressed with the words: «What a music! What an ensemble!» – to the old man sitting directly before him at the same time nearly grabbed a shoulder of the old man delighted [1*];

Danilov didn’t stop singing at the back of his mind the themes of « T h e M a r r i a g e o f

F i g a r o » sitting in a trolleybus, then he was frightened: whether passengers recognize him mad, gazed about [1*].

In this context the impression of the musician of listening of the Mozart’s opera-buffa

«The Marriage of Figaro» is described. Despite repeated execution of this piece of music the musician Danilov «after some fluctuations» makes the decision to listen to the opera from the spectator’s position. The sequence of his actions and change of an emotional state can be displayed by means of the following semantic-cognitive chain:

has decided to listen to → understood that he didn’t know;

listened to → sat having opened a mouth;

began to sing → not only sang;

having forgotten, addressed the old man → nearly grabbed a shoulder of the old man delighted;

didn’t stop singing → was frightened → gazed about.

New perception of well familiar work is noted («from the hall he listened to it for the first time», «has understood that he didn’t know this music properly»). Awareness of magnificence of music brings the musician-listener into such delight that he loses control over himself («sat having opened a mouth»), sings the opera («began to sing»), disturbing the surrounding audience, grabbing their hands («having forgotten, addressed to the old man», «nearly grabbed a shoulder of the old man delighted»). And even after the end of a performance he continues to sing the opera on the trolleybus («didn’t stop singing at the back of his mind the themes of «The

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Marriage of Figaro» sitting in a trolleybus»), then recovers, understanding that he behaves strange, and frightened looks around («was frightened», «gazed about»).

Admiration from «The Marriage of Figaro» is also transferred by syntactic means – use of hortatory sentences («What a music! What an ensemble!»).

Thus, the well-known work appears in new light, causing the mass of emotions and feelings, forcing to lose control over himself, to forget about a surrounding situation, absorbing and enslaving listeners with its beauty.

The name The Twenty-first Caprice of Paganini is used in 2 contexts:

His bow rolled on the floor, the violin laid on the table, on the lectern there were notes of T h e T w e n t y - f i r s t C a p r i c e of Paganini. <…> The day before yesterday Mischa wanted to overcome T h e T w e n t y - f i r s t C a p r i c e of Paganini [1*].

The situation described in this example reminds a scene of fight what is pointed out by the chaotic state of objects in the musician’s room («his bow rolled on the floor», «the violin laid on the table»).

The verb «overcome» meaning «to win, master in fight; to overcome something, demanding physical efforts, work» [1**], also represents fight, however not physical fight of people, but the aspiration of the musician to repeat grandiose execution of the piece of music and, thereby, to win over it.

So, The Twenty-first Caprice of Paganini is the difficult work, demanding improbable work and efforts from the performer that does it even more attractive to passionate, suffering natures.

The following example represents The Sixth Symphony of Tchaikovsky (1 context):

He has left the easy maestro <…> has returned the serious musician ready to T h e S i x t h S y m p h o n y of Pyotr Ilyich [1*].

The relation to Tchaikovsky’s work is transferred in this example by means of the characteristic of the musician executing it. According to the author of the novel «the easy maestro» cannot play the great work of the composer, and the magnificent symphony of Tchaikovsky is subject only to «the serious musician».

The sign of validity, solidity, severity of the analyzed piece of music demanding from the performer thoughtfulness and concentration is staticized.

The following context contains names of two works of Arnold Schoenberg: «Endured events of Warsaw» and The Second Chamber Symphony which occur in the text of the novel once:

…he was respectful to Schoenberg, and his Second Chamber Symphony and « E n d u r e d e v e n t s o f W a r s a w » worshipped and had on the tape recorder [1*].

The provided pieces of music, as well as their creator, cause feelings of honoring, respect, awe and piety that is verbalized by means of an adjective «respectful» and the verb «worship», and also «had on the tape recorder» which symbolizes the high value of these works for the main character as records only of the chosen and hotly favourite compositions are stored in a personal collection of the musician.

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Danilov in the list of cares of Claudia Petrovna put the last tick, happily sighed. «Freedom!» – he exclaimed and played « O d e t o J o y » on the viola [1*].

The name «Ode to Joy» is speaking as it transfers mood of happiness, joy, ease and carelessness which are described in this example and can be reflected by means of a semanticcognitive chain:

put the last tick in the list of cares → happily sighed exclaimed «Freedom!» → played «O d e t o J o y » on the viola.

The emotional and psychological reaction arising in case of the end of unpleasant occupation («in the list of cares»), is represented by means of:

adverb «happy»,

verbs «sighed» and «exclaimed», symbolizing a sigh of relief and enthusiastic shriek,

exclamation «Freedom!».

Thus, performance of «Ode to Joy» is the finishing link on the way to finding tranquility and wellbeing that specifies situational conditionality of emotions [11].

Further the name of a cycle of works of Bach «The Well-Tempered Clavier» which implementation meets in 1 context follows:

The melody from «The Well-Tempered Clavier» of Bach is represented suitable for execution and perception by the person who is in the pacified state that is symbolized by the use of an adjective in comparative degree «quieter».

The sign of calmness, steadiness and self-control is staticized.

Giuseppe Verdi’s opera «Don Carlos» is represented in the text of the novel once:

They played « D o n C a r l o s », broke up tired [1*].

This nomination is characterized by means of the description of a condition of musicians after its execution – «broke up tired» that testifies to complexity of the specified work as in moral, and physical aspects, connected with duration of its execution (the full version lasts about four hours).

Other nominations of the known classical pieces of music which are found in the text of the work of V. Orlov «Danilov the Violinist», such as Tchaikovsky’s «Sleeping Beauty», Handel’s «Passakalya», Jeannot de Lecurelia’s «Rondeau», «Harold» of Berlioz and others, do not have the expressed stylistic markedness, are neutrally connotative and are used for creation of the atmosphere and a background of the novel and demonstration of the extensive musical repertoire of heroes of the work.

Thus, in axiological aspect the nominations of works of classical music have meliorative and neutral character.

The positive markedness of the analysed pieces of music is connected with their beauty, greatness and genius reflected by the meliorative colored lexicon. In case of the characteristic of compositions it is specified:

time of their execution – «evening»;

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great demand for representations – «got the tickets on acquaintance»;

creator – «master»;

the performer – «the serious musician»;

complexity of execution – «the counting was difficult», «the counting gave no breaks», «to overcome», «decided», «few theaters had the power to perform»;

a condition of musicians after the concert – «left his place exhausted «, «hung the head under a stream of cold water», «broke up tired»;

beauty of music and its property – «fine», «nervous, high as Dostoyevsky’s dialogue, with the shrill mixture of voices, with exact, on a sound and a melody, responses to movements of the souls suffering on the stage or not even answers, on the contrary – anticipations of these movements of souls», «the music instant reflection of restless and fast feelings»;

influence of music – «attracted», «sat, having opened a mouth», «comforted, brightened up, fell asleep quickly», «was quieter», «having forgotten», «grabbed a shoulder delighted», «happily sighed»;

the relation to music – «was related to», «loved», «was respectful», «worshipped», etc.

Neutrally marked compositions serve for creation of a background of the novel of V. Orlov and characterize the writer as the expert on musical culture.

The following group of artionims is presented by names of pop songs (11% of total of contexts). Let’s address consideration of examples.

2. Names of pop songs.

The name of the popular song sung by Valentina Tolkunova «I stand on a substation in a colorful semi-shawl, and trains pass by» is used in the text of Orlov’s novel «Danilov the Violinist» in 2 contexts :

Here Kolya stopped and started singing: « I s t a n d o n a s u b s t a t i o n i n a c o l - o r f u l s e m i - s h a w l , a n d t r a i n s p a s s b y » ... [1*];

Danilov has heard <…> unforgettable «I stand on a substation» [1*].

The presented nomination is defined as «unforgettable» that means «such what can’t be forgotten» [1**] that characterizes the song from a positive side, speaking about its ability to touch the most intimate thoughts and feelings, to get into souls of people and to remain in them forever.

The name of the following composition «Сamomiles have hidden, buttercups have scorched…» or «Сamomiles have hidden, buttercups have withered…» is also used in 2 examples:

Behind a wall the wooden wind player Klementyev from the children’s opera, as well as always in the last three years, has been studying on the electric organ the song « С a m - o m i l e s h a v e h i d d e n , b u t t e r c u p s h a v e s c o r c h e d … » [1*];

In a bath house the plumber Kolya reminded Andrey Ivanovich the song « С a m o m i l e s h a v e h i d d e n , b u t t e r c u p s h a v e s c o r c h e d … » , and now Andrey Ivanovich with pleasure was singing it. He and Kolya were supported by Kudasov still not tired of food and, that is surprising, by a tishist Zemskiy. And Danilov started singing for the sake of the company. Their song was heard by the wind player from the children’s opera

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Klementyev who was behind a wall. He immediately – and loud – started playing about buttercups on the electric organ [1*].

The original name of a song sounds as «Сamomiles have hidden, buttercups have withered…», however, despite the made changes in the lyrics, the heroes were singing it with all the heart.

The song causes positive emotions; this idea can be confirmed by means of the following semantic-cognitive chain:

reminded the song → with pleasure was singing → supported → started singing for the sake of the company was heard by the wind player → immediately started playing.

The first accords of the song («reminded the song», «it was heard») cause desire to join its execution («supported», «started singing for the sake of the company», «played»).

Even the people not inclined to collective singing can’t keep and join the chorus that is represented by an adjective «surprising» («supported them, that is surprising, a tishist Zemskiy»), and the musician «behind a wall» begins to accompany the song on the electric organ. He likes it so much that «has been studying for the last three years».

The relation to the song is also shown by means of a noun «pleasure» («with pleasure») and adverbs «loud» («and loud ‒ started playing») meaning «loud, ringing, sharp» [1**] that shows the aspiration to perform this composition.

Thus, this nomination has a meliorative markedness; the sign of inspiring effect of the song which involves all surrounding people in process of singing is staticized.

Implementation of the song on Robert Rozhdestvensky’s verses «I ask me not to learn when in a dream I come to you» occurs in the text of the novel once:

…to the plumber Kolya was all the same where now to sing the song « I a s k m e n o t t o l e a r n w h e n i n a d r e a m I c o m e t o y o u » … [1*].

In this context there is no stylistic coloring of the presented nomination. It is specified only that the place and time doesn’t matter for performance of this song («was all the same where now to sing the song») that shows her universality and serves the indication of the positive relation to the work.

Further the name of a song of Olga Voronets «Why you, girls, love handsome guys» (1 example):

Stubborn Klementyev, having repaired his electronic organ by the night, has played behind a wall as if to the whole orchestra: « W h y y o u , g i r l s , l o v e h a n d s o m e g u y s » [1*].

The specified composition has a neutral markedness, however persistence with which the musician repairs the tool («Stubborn Klementyev, having repaired his electronic organ by the night»), and also his eagerness and a pressure during the game («has played behind a wall as if to the whole orchestra») symbolize love to this music that allows to speak about a meliorative connotation of this work.

The nomination «With birch sap, birch sap…» is applied in the novel in 1 context:

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Perhaps it was also Karmadon’s revelry – again drank, again ate, again sang, and went somewhere, and stood still. <…> Kolya nearby has right there started and has started singing: « W i t h b i r c h s a p , b i r c h s a p …» [1*].

The song «With birch sap» of Veniamin Basner on verses of Mikhail Matusovsky is mentioned in V. Orlov’s novel «Danilov the Violinist» during the celebrations and a feast («Karmadon’s revelry – again drank, again ate, again sang») that characterizes it as a drinking song, i.e. sincere, as during a feast people relax, liberate and open soul often by means of singing songs.

The name of a song of Aleksandra Pakhmutova «Drink, children, milk, you will be healthy» is used once:

Among the Muravlevs one hope was on the fifth-grader Misha, he studied the Ossetian dance symd on tiptoe together with a class and sang in a school chorus Pakhmutova’s song « D r i n k , c h i l d r e n , m i l k , y o u w i l l b e h e a l t h y ! » [1*].

This nomination is neutrally connotative. The musical composition represents the children’s song that is confirmed with its name: the address to children («Drink, children, milk») and instruction («you will be healthy»), and also the mention of the target audience: «fifthgrader» and «school chorus».

So, among the pieces of music which are a part of LSG «Names of Pop Songs», two compositions are used in the text of the novel of V. Orlov «Danilov the Violinist» in 2 contexts each: «I stand on a substation in a colorful semi-shawl, and trains pass by», «Сamomiles have hidden, buttercups have scorched / have withered…», other names are mentioned once.

The meliorative connotation of the presented nominations is implicit and is isolated during the analysis of contexts. Such lexemes as «unforgettable» and «with pleasure» show the positive relation to songs.

These compositions are represented in the text of the novel as belonging to a genre of drinking songs as their names are mentioned during a feast («started singing for the sake of the company»).

The lexical-semantic group «Names of fictional compositions» constitutes 8% of total number of the analysed contexts.

3. Names of fictional compositions.

Names of fictitious works belong to the fictional musical direction cultivated by one of heroes of the novel Zemskiy Nikolay Borisovich – «tishizm». At the heart of this musical direction is the refusal of habitual musical forms and sounds, it is internal music with «full freedom of choice of thoughts», the extraordinary choice of names of pieces of music is explained by it:

«Farewell to the hotel room in Tambov», «Morning sufferings in the neighborhood of Corinth», «Ice in April on the Commune Area», «Anticyclone», «Ice on Asphalt», «Breaking glasses of the trolleybus» (1 example each).

Lack of music and sounds complicates understanding of the idea of the musician which he wanted to express in the work, however, understanding the listeners’ unpreparedness to such innovative «music», he makes concessions and uses a violin for execution of the composition. On the movements of a bow the listener guesses the motive, the subject and mood of the work. Thus, visual perception becomes a key factor in understanding of «music».

Let’s analyze the contexts:

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Therefore I will execute the compositions at once. <…> But first you cannot understand them, and even become angry <…> The first thing is called « F a r e w e l l t o t h e h o - t e l r o o m i n T a m b o v » , – Nikolay Borisovich declared so as if he meant not only Danilov, but also the invisible listeners who perhaps became silent somewhere nearby. The second – « M o r n i n g s u f f e r i n g s i n t h e n e i g h b o r h o o d o f C o r i n t h ». <…> He began to play, but Danilov didn’t hear any sounds. Farewell to the hotel, as it seemed, was elegiac, something happened with Zemskiy in Tambov, the bow floated by cords at distance, near them, in thoughtfulness and grief. <…> here Nikolay Borisovich finished the first thing, lowered a bow, inclined the head for a moment. But at once as if started and threw up a bow, having addressed thoughts and feelings to morning sufferings. Sufferings – whom? Perhaps, to a centaur? – were given serious near Corinth. Flights of a bow were nervous and prompt now [1*].

The creator of pieces of music warns the listener about probable misunderstanding of his creations and even their rejection («first you cannot understand them, and even become angry»).

The first composition is called «Farewell to the hotel room in Tambov». The feeling of bitterness and grief is verbalized even in the name by means of a noun «farewell» (from the verb «say goodbye» – «to leave something somewhere» [1**]).

The geographical subject in use of a toponym Tambov is observed.

The analyzed composition is described as «elegiac» («sad and pensive, melancholic» [1**]) that the movements of a bow symbolize: «the bow floated by strings at distance, near them, in thoughtfulness and grief».

The verb «float» represents the slow, smooth movement peculiar to thoughtful, sad mood. The sign of grief and despondency is staticized.

The second work is called «Morning sufferings in the neighborhood of Corinth» and contains a temporal and geographical component. Accuracy in the indication of time strikes

(«morning») and places of sufferings («in the neighborhood of Corinth»), however who is an object of sufferings remains a riddle. It is only the listener’s suggestion that, perhaps, they belong to a centaur. The similar guess is represented by rhetorical questions: «Sufferings – whom? Perhaps, to a centaur?».

The considered piece of music concludes a psychological subject, has the tragic character expressing heavy state of mind what the phrase «sufferings were given serious» confirms, and also the characteristic of movements of a bow as «nervous» and «prompt» that reflects concern, alarm and fight of mixed feelings of restless soul.

The following piece of music is named as «Ice in April on the Commune Area» and includes three parts: «Anticyclone», «Ice on Asphalt», «Breaking glasses of the trolleybus». Let’s address the example:

Now I will play one more thing. And it is for a violin. That is also concession… But what should I do, even if you didn’t feel my music… This thing is more difficult. It is called –

b u s ». Zemskiy, probably, indeed didn’t trust in a possibility of harmony of the universe, his composition again, judging by the nervous movements of a bow, reflected tragic collisions of elements and destinies. Danilov watched Zemskiy’s playing in tension, endeavored to hear something. Suddenly it began to seem to him that he really heard some music or at least night howl of wind or rustling of newspaper scraps on the frozen pools and when Nikolay Borisovich reached the third part, Danilov closed eyes and clearly imag-

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ined how directly before an entrance to the park the truck with the milk tank crashed sideways the thirteenth trolleybus and glasses broke [1*].

The climate theme is pointed out in the names «Ice in April on the Commune Area», «Anticyclone», «Ice on Asphalt».

The name of the piece of music and its parts creates feeling of inner cold and hopeless-

ness.

So, the well-known fact is that the weather in the territory of Russia in April is unstable and changeable:

the noun «anti-cyclone» indicates the change of weather which is usually connected with a cold snap that sets the general mood of the piece of music, the listener prepares for «the forthcoming cold weather» and vital changes;

the lexeme «ice» symbolizes the slippery, unstable situation creating feeling of discom-

fort;

the indication of the scene of action – «on the Commune Area» – touches upon a subject of loneliness of the little person in the huge world.

The name «Breaking glasses of the trolleybus» contains a psychological subject as the phrase «breaking glasses» acts as a hint of the broken life, the destroyed plans and dreams.

This work is characterized as «difficult» for perception («This thing is more difficult»), its author expresses repentance concerning the fact that remained misunderstood («But what should I do even if you haven’t felt my music…»). The musical composition reflects decadent moods of the composer, transferring tragic element of the universe («tragic collisions of elements and destinies») and lack of belief in harmony («didn’t trust in a possibility of harmony of the universe») what «the nervous movements of a bow» testify to.

Desire not to upset the musician Zemskiy, represented by lexemes «in tension» and «endeavored to hear», was so strong that making improbable efforts «to hear» his music, the listener Danilov has closed eyes and has presented «night howl of winds», «rustling of newspaper scraps» and other.

Thus, in these contexts the auto-suggestion phenomenon is shown. It is supposed that the offered names of pieces of music have to provoke work of the imagination of the potential listeners who will create their own «internal music».

The presented nominations have negative character as transfer mood of grief («in thoughtfulness and grief», «farewell»), despair («in tension», «endeavored to hear»), sufferings («suffering»), confusion («nervous», «prompt») and tragic element («didn’t trust in a possibility of harmony of the universe», «tragic collisions of elements and destinies»).

On the basis of the analysis of artionims as the fragment of the lexical-semantic field

«Music» in V. Orlov’s novel «Danilov the Violinist» 3 lexical-semantic groups are allocated: «Names of works of classical music» (81% of total of the analysed examples), «Names of pop songs» (11%) and «Names of fictional compositions» (8%).

Prevalence of the nominations relating to a genre of classical music is connected with a kind of activity of the main character of the novel, Danilov working in a theatrical orchestra.

There are the compositions of foreign classics («Don Carlos», «Harold», «Rondeau», etc.) as well as the Russian masterpieces («Nastasia Filippovna», «The Fiery Angel», «Swan Lake», etc.) among names of works of classical music, that symbolizes the big repertoire of the orchestra and, in particular, the main character of the novel, violist Danilov.

From a position of an axiology the nominations of classical works are positively and neutrally connotative.

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The meliorative markedness is represented by means of positively connotative lexical means:

adjectives – «fine», «calmed», «brightened up», etc.;

verbs – «attracted», «loved», «worshipped», etc.;

adverbs – «happily», etc.;

nouns – «in awe», etc.

The studied contexts describing classical pieces of music have a temporal paradigm («evening»), the notion of the great public interest («has got tickets on acquaintance»), the characteristic of the composer («master») and the performer («the serious musician»).

Special attention is paid to complexity of creation of pieces of music («the count was difficult», «the counting gave no breaks»), which playing serves as the real test and check of talent and abilities of musicians («to overcome», «have decided», «left his place exhausted», «hung the head under a stream of cold water», «broke up tired»).

The emphasis is placed on the detailed description of sounding of music («nervous, high as Dostoyevsky’s dialogue, with the shrill mixture of voices, with exact, on a sound and a melody, responses to movements of the souls suffering on the stage or not even answers, on the contrary – anticipations of these movements of souls”, “instant reflection of restless and fast feelings»).

Music greatly impress listeners, forcing them to forget who they are in the real world, immersing in the story of feelings and images told by the composer («sat, having opened a mouth», «having forgotten», «grabbed a shoulder», etc.).

Compositions with the neutral connotation, in turn, create the atmosphere and a background of the novel, showing the author’s extensive knowledge of the field of music.

The lexical-semantic group «Names of Pop Songs» includes 6 nominations which can be classified taking into account their thematic orientation:

location: «I stand on a substation in a colorful semi-shawl, and trains pass by»;

plants: «Сamomiles have hidden, buttercups have scorched / have withered…»;

liquids: «With birch sap, birch sap…», «Drink, children, milk, you will be healthy»;

gender aspect: «Why you, girls, love handsome guys»;

psychology: «I ask me not to learn when in a dream I come to you».

These nominations have no bright stylistic coloring, the positive markedness of the specified works is expressed implicitly and understood by the reader intuitively.

Musical compositions of a similar genre are performed in the companies during feasts and have sincere character.

Names of fictitious pieces of music contain the following subjects:

geographical: «Farewell to the hotel room in Tambov», «Morning sufferings in the neighborhood of Corinth»;

climatic: «Ice in April on the Commune Area», «Anticyclone», «Ice on Asphalt»;

psychological: «Breaking glasses of the trolleybus».

It is necessary to emphasize that the emotional and psychological component is present at each of the specified nominations in explicit («Farewell to the hotel room in Tambov», «Morning sufferings in the neighborhood of Corinth», «Breaking glasses of the trolleybus») or implicit («Ice in April on the Commune Area», «Anticyclone», «Ice on Asphalt») form.

Fictitious artionims have negative connotation that is represented by lexemes with negative semantics:

nouns – «farewell», «thoughtfulness», «grief», «sufferings», «in tension»;

adjectives – «serious», «nervous», «prompt», «tragic», etc.;

verbs – «become angry», «didn’t trust», «endeavor», etc.

The sign of hopelessness, loss, lack of belief, loneliness, inner emptiness and cold is staticized.

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The special attention is paid to the function of the pop and fictitious nominations acting as markers of national character of Russians. So, the main features of national character of Russians:

warm-heartedness: «having addressed thoughts and feelings», «unforgettable», «with pleasure sang», etc.;

tendency to a collectivism: «supported», «has started singing for the sake of the company», etc.;

breadth of soul: «revelry»;

thoughtfulness: «thoughtfulness», «grief», etc.;

melancholy: «farewell», etc.;

tragic element: «tragic», «didn’t trust», etc.

Of particular note is the function of variety and fictitious nominations projecting markers Russian national character. The study demonstrates a vivid musical artionimov correlation "Music" phenomenon with emotional Russian view of the world, with the national code of Russian culture. In the words of V.A. Sukhomlinsky, music brings together the moral, emotional, and aesthetic spheres of human. Music - is the language of feeling. The value of music nominations are updated, according to our observations, such culturally significant meanings as sincerity ( "turning thoughts and feelings", "unforgettable", "happy to sing" and others.); tendency to collectivism ( "support", "sang for us" and others.); melancholy ( "goodbye" and others.); tragedy ( "tragic", "did not believe"), the breadth of the soul ( "binge"); for-dumchivost ( "thoughtful", "sadness" and others.) and others. Dedicated meanings are sign-mi national cultural code and are relevant to the mental Russian-ta. The results of the analysis fully confirms the words of the famous muse, locally and art critic V.V. Stasov the inextricable connection between music and the people and their culture, "Music in the same way as any other human language, [...] inseparable from the people, from the soil of this nation, its historical development."

Bibliographic list

1.Ajazbekova S.Sh. Kartina mira jetnosa: Korkut-ata i filosofija muzyki kazahov: Monografija / S.Sh. Ajazbekova. – Izd. 2-oe. – Astana, 2011. – 284 s.

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