Abstract
The organ, despite the predominance of modern creative experiments, continues to attract the attention of both professional musicians and music lovers. Organ art offers a unique experience, preserving its importance in the musical culture of modern Kazakhstan. The three components of the national organ art including organology, composing and performance have not previously been considered within a single cultural and historical paradigm and have not been subjected to comprehensive scientific analysis and deep artistic understanding. The organ school of Kazakhstan has passed through three stages of formation and development (1967–1974, 1975–1999, 2000 – until now). This article thoroughly examines the second stage (1975–1999) of the development of organ culture in the republic. Particular attention is paid to the evolution of the Kazakh organ school, and the classification of existing musical instruments from the standpoint of their structure, as well as the study of the organ repertoire of national composers, taking into account the diversity of genres and stylistic patterns. The process of integrating organ art into Kazakh music culture required a special approach. It was caused by the fact that national music has historically been orientated towards instruments with a completely different sound, such as dombra, kobyz and zhetigen. In this regard, local composers endeavored to create original organ works by merging European polyphonic writing with melodic and rhythmic structures inherent to Kazakh folk music and its instrumentation. To solve the designated range of issues in the study, a methodology that includes historical, analytical and genre-style methods, as well as the generalization of archival data, has become decisive. A comprehensive approach has been taken to generalize the path traversed by organ culture in the twentieth century in all the diversity of the most important trends and directions. The relevance of the study is conditioned not only by the rarity of such works in the context of the selected region, but also by the continuing interest in the organ heritage as an element of intercultural dialogue. The material of the article is determined by the possibility of applying the conclusions and results obtained in scientific research on the history of organ performance, instrumentology, history of Kazakh music, as well as in the creative activity of performers and composers of Kazakhstan.