From April 11 to 14, the international scientific-practical conference "Contemporary Turkic Musicology: Challenges and Prospects" was held to mark the 30th anniversary of the First International Symposium "Music of the Turkic Peoples." The event brought together distinguished scholars and artists from both Kazakhstan and abroad.

This landmark academic gathering coincided with the presentation of the book "National Musical Instruments of Turkic-speaking Countries" and the opening of the Bolat Karakulov Center for Turkic Musical Culture and Heritage, named in honor of the prominent ethnomusicologist who pioneered the field.

The plenary session opened with a welcoming address by renowned poet and Turkologist Olzhas Suleimenov, and a keynote speech by Prof. Tan Sooi Beng (Malaysia), President of the International Council for Traditional Music and Dance (ICTMD), underscoring the high level of the conference.

Celebrated ethnomusicologist Izaly Zemtsovsky (USA), in his congratulatory letter, wrote:
"This is no coincidence, but a historical milestone — the fruit of collective labor and the dedication of outstanding experts. One had to grow into such a day — and be worthy of it. Its relevance and importance had to be foreseen, comprehended, and substantiated."

The conference also featured masterclasses from experts from Germany, Uzbekistan, and Azerbaijan, offering crucial contributions to the study and popularization of Turkic musical traditions.

The conference was organized by Rector Gaukhar Koshkarbekkyzy of the Kurmangazy Kazakh National Conservatory, in collaboration with the Akimat of Almaty and the Kazakhstan–Asia Association for the Development of Trade and Culture, with support from prominent public figure and ICTMD ambassador Duysen Kaseinov, Chair of the Kazakhstan–Asia Association Presidium.

This conference holds immense significance for the Turkic peoples. It is through such scholarly forums and concerts that we are able to contemplate our past, present, and future.

Thirty years ago, it was Duysen Kaseinov who initiated the First International Symposium on "Music of the Turkic Peoples." The foundation for this field was laid by musicologist Bolat Karakulov, whose work was carried forward by scholars like Asiya Mukhambetova, Saule Utegenova, Saida Elemanova, Gulzada Omarova, and many others. Their efforts paved the way for deeper understanding of cultural connections among Turkic nations.

For a country where, in the 1950s–60s, traditional music was officially labeled as mere “folk art” — as was the case with artists like Dina Nurpeisova and Zhusipbek Elebekov — such symposia and conferences became vital to reclaiming cultural heritage.

Research into the musical relationships among Turkic peoples has broadened the horizons of art history. Consider the kobyz: legends of Korkyt-Ata are shared across Turkic cultures. Furthermore, international scholars such as V. Bachmann and S. Doncheva were already proposing in the last century that the kyl-kobyz could be an ancestor of the modern violin.

Among the presentations at this year’s conference were the following:

• Saule Iskakkysy (Kazakhstan, Kurmangazy Conservatory): "Contemporary Turkic Musicology: Achievements and Prospects"

• Violetta Nikolaevna Yunusova (Russia, Tchaikovsky Moscow State Conservatory): "Problems in Studying Turkic Music in the Works of Russian Scholars"

• Dorit Klebe (Germany, Berlin University of the Arts): "Episodes from the Epic 'Koroghlu': From Oral Transmission to Written Record" (via Zoom)

• Saida Elemanova (Kazakhstan): "Music as a Lens into Turkic Civilization"

• Zumrud Arashkyzy (Azerbaijan, Baku Music Academy): "From Hajibeyli to the Present: Evolving Roles of Azerbaijani Traditional Instruments"

These topics clearly reflect the scope and depth of the work accomplished.

Special recognition is due to Aizada Nusupova, Vice-Rector for Research, Innovation, Creative Development, and International Cooperation at the Kurmangazy Conservatory, and to Prof. Saule Utegenova, for their key roles in ensuring the conference's academic and organizational excellence.

The event was a vibrant expression of the spiritual unity of Turkic peoples, culminating in a concert featuring both traditional performers and contemporary artists from Kazakhstan and beyond.

The Bolat Karakulov Center for Turkic Musical Culture and Heritage was established with the support of Aktoty Raimkulova, President of the International Foundation for Turkic Culture and Heritage.

In the 1970s, Bolat Karakulov was the first in Kazakh ethnomusicology to raise the subject of musical Turkology, outlining its key research directions. He was also the initiator of the First Symposium on "Musical Turkology" in 1994. His academic prestige attracted leading international experts to that foundational event, held just as Kazakhstan was gaining independence. At the time, Duysen Kaseinov, then Rector of the Conservatory, played a pivotal role in its organization.

Bolat Karakulov made an indelible contribution to the theoretical development of Kazakh ethnomusicology, pioneering a new methodology for analyzing traditional song and recitative forms. His innovations led to numerous dissertations and monographs, and helped introduce new subjects into the national music curriculum.

For the last 30 years of his life, he dedicated himself to developing a unique theory — musical symmetrology.

In truth, this recent conference marks a watershed moment for both traditional and contemporary Kazakh music.
Duysen Kaseinov, through his vision and dedication, once again affirmed his status as a spiritual leader and respected international figure.
The forum opened new intellectual horizons for young scholars — especially ethnomusicologists — to explore the evolving field of Turkic music in the 21st century.

Kairat Aitbayev
Soloist, Kazakhconcert State Concert Organization named after Roza Baglanova