Abstract
This article aims to explore the unity of song and the stylistic interaction between pop and academic art in Kazakhstani songwriting and performing practice. Using the performing art of R. Baglanova as an example, we will examine the role of song in the works of Kazakhstani composers and performers, analyse the general features of R. Baglanova's vocal art in the context of the development of Kazakh song during the Soviet period, and identify stylistic directions in her repertoire and individual originality in sound production and intonation. The intersections between pop and academic song styles are one of the trends in the work of composers of Kazakhstan, who compose songs along with operas and ballets, large-scale and chamber vocal and orchestral works. The expressive features of the song "Tan Samaly" by E. Rakhmadiev are determined. Its uniqueness lies in the organic combination of the tradition of Kazakh folk songmaking and the vocal style of chamber song and romance lyrics. In its structure, the features of a complex form are noted: continuous melodic growth based on the singing of tones of the tonic triad. Both pop artists with a traditional singing style and classical academic singers perform the song "Tan Samaly." Rosa Baglanova has created an unsurpassed example of interpretation of this masterpiece of Kazakh music of the 20th century. She enriched the song culture, aimed at a broad audience. The cross-influences of intra-genre stylistic trends in the song "Tan Samaly" and in the art of its interpretation by R. Baglanova outline two mutually directed processes between the creativity of composers and performers. Therefore, along with the established separate study of the varieties of song (folklore, academic, and pop), the unity of the national song culture is methodologically important.