Abstract
The article analyzes the ‘UmaI’ piece by Daniyar Berzhaprakov. Searches and experiments in the field of enriching and updating timbre-sonorous sonority indicate the expansion of the sound palette of the works created by modern composers of Kazakhstan, which has become an integral part of the national academic music of the 21st century. The composers’ appeal to common Turkic history became an impetus to search for new timbre colors requiring embodiment of the sound world of the Turks and its recreation through European instruments, making the beginning of a cultural dialogue between East and West. The research methodology is based on carefully considering the identified problem, including historical, comparative, and analytical methods that assist in forming a holistic view of the uniqueness of the play ‘Umai’ for the modern musical culture of Kazakhstan. The peculiarities of thinking originated in the minds of the ancient Turkic people and have carried through the centuries and are reflected in the works of Kazakhstani composers nowadays. The timbre becomes a crucial component capable of embodying the common Turkic principle, influencing the development of the storyline and realizing the traditions and beliefs of the ancient Turks in the play ‘Umai’. The analysis of ‘Umai,’ which has not been studied or analyzed in Kazakh musicology previously, allows us to conclude that the role of timbre in striving for sound renewal and expansion of the palette is highly significant in the modern academic music of Kazakhstan. The results and conclusions of the research below can be applied as material for subsequent studies on this issue.