Interpretation of Folk Musical Traditions in the Compositional Technique of Bashkir Composers (on the Example of Rafail Kasimov’s Piano Piece “908”)
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Abstract
In early 20th century Russian art there occurred symbolic processes which enriched the country’s musical culture.
The “un-notated” folk musical traditions of the national republics began to expand and search actively for paths towards
rapprochement with the classical European musical system. These same processes also took place in Bashkortostan,
where the coexistence of the European and the Eastern musical traditions during the course of the time period from the
16th to the 19th centuries led by means of evolution to a period of their intense interaction.
At an early stage of the formation and development of Bashkir piano music, and also at subsequent stages, the most
widespread genre was that of small piano pieces, in which the principles of connection of the extremely contrasting
systems of East and West had been tried out. At the beginning of this path it is possible to perceive the manifestation
of the surface stratum of folk music: depiction of pictures of the nature of the Ural Mountains and everyday scenes of
the lives of ordinary people, as well as in many ways an intuitive utilization of folk modes, melodic ornamentation and
other attributes of musical language.
Understanding the mentality of the people, its ancient historical past, and penetration into the deeper strata of
folk music has been the aspiration of many composers since the 1980s. This has been aided by the attention of
historians and folklorists towards the study of the folk epos and religious customs, as well as the dissemination of
new information through publication of the results of a number of research works. The given processes have found
their reflection in the image-related structure of musical compositions, which in its turn has led towards the search for
optimal means of composition. The organic realization of new traditions may be demonstrated in Rafail Kasimov’s
piece “908,” where the intonational lexis of Bashkir folk music interacts profoundly and brilliantly with contemporary
techniques of composition and piano performance.
Keywords: Rafail Kasimov, Bashkir piano music, Bashkir folk music, Rafail Kasimov’s piano piece “908”.
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