Semantic of archaic Circassians (Adyghes) music: sound and color «preambles»
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Abstract
The article explores the role and place of archaic music in the design of an ethnomental picture of the Circassian (Adyghes) world. The transdiscursive human intuition is a person was considered, which made it possible to reflect the unique moment of the creating a musical instrument – kamylʼ, in order to affect nature and its elements, framing the worldview, psychological and mental world order, including the laws of interaction between man and nature using calocagatic elements of myth – music and a musical instrument.
Authentic examples of the Adyghe musical tradition associated with the shepherd rituals of the pasture of sheep in the «Melegʼʼazhʼe» pasture and the retreat to sleep of the «Melgʼʼezhej», which voiced the games of the same name performed on stone, were studied in detail. Based on a descriptive analysis of these musical samples, stable sound complexes, sense codes and semantic «formulas» were identified, acting, in fact, as a bright metaphor for life and sacred death
The analysis of ritual tunes made it possible to disclose: the genesis and concepts of musical semantics, the principles of elimination as a text of tradition through a sense-code and an image-code. The phenomenon of semantic polysemy and metamorphosis of the musical language of ritual tunes in the design of the musical picture of the world of the Circassians (Adyghe) is considered.
Keywords: Circassians, Circassians, archaic music, ritual tunes, «Meleg”azhʼe», «Melg”ezhej», kamylʼ, sacred sound, day, night.
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