Abstract
The authors examine the “intonational-complex” sample (ICS) from the point of view of its possibilities for preserving traditional musical culture and the adaptation of the proposed terminology to the field of digital art. Analysis is carried out of possible methods of digitalization of Kazakh traditional instrumental music, as well as application of methods of sampling for the sake of subjecting specimens of the art of folk music to transformation. The article provides analysis of contemporary theoretical developments in the sphere of modeling and experimental attempts of creating a digital format of the virtual model of instruments, and also a classification of samples is offered. The authors divide the samples into three basic types: the organic (a maximally natural sound of the instrument in digital format), the synthetic (a distorted sound, compared with the primary source), and the intonational-complex sample (ICS). The latter is acknowledged to be the most significant for the recreation, dissemination and preservation of folk music, since it carries out the function of notation, replication and preservation of authentic sound. One of the relevant and most complicated goals in the angle of research is seen to be the creation of samples which replicate the sound of folk music in the conditions of thin mountain air, rolling over of grains of sand in the desert, as well as the expanses of steppes, where the song or the kuyi of the performer of Kazakh music can be heard for many kilometers. Singled out as a separate problem is the lack of samples of timbres of Kazakh folk instruments, with the exception of the dombra, whose manufacturers are such companies situated outside of Kazakhsan as Impact Soundworks and Wavelet Audi.