Abstract
Since the formation of the chamber and instrumental music in Kazakhstan, the traditional instrumental genrekui – has become the vector of creative search, the basis for the synthesis of national and western musical thinking. The purpose of this article is to reveal the features of the traditional genre within the framework of academic music and to present a new genre – chamber kui.The expression of kui in the works is functionally represented in a variety of ways. The embodiment of the semantics of kui in its figurative meaning is given in the title of the work. When using the folk instrumental genre in professional writing, the authors give a functional association to it presented in the work in the form of a fragment (melody or accompaniment). The next point in the gradation of kui features in the chamber and instrumental works of composers of Kazakhstan is the dominance of its features: motor skills, variant-variational development of form, texture, throughout the work or part of it.The formation of a new genre – chamber kui was the result of creative searches for the synthesis of Kazakh folk instrumental creativity-kui, the connection of the laws of its formation and shaping with the achievements of European creative experience. In form, these pieces are kui (alternation of three register zones characteristic of the traditional genre), in harmony, quart-quint consonances are used, recreating the overtone density of the dombra timbre in the sound of the European instrument.