Lullaby song "Drink x" as a historical and cultural memory of the Tuvan people

Kyrgys Zoya Kyrgysovna Doctor of Art History Chief Researcher, International Academy "Khoomei'' 667000, Russia, Republic of Tyva, Kyzyl, Lenin str., 7, room 204 kyrgys@gmail.com Other publications by this author

Ondar Bady-Dorzhu Vladimirovich Director, GBU RT "International Academy "Khoomei" 667000, Russia, respublika Tyva, g. Kyzyl, ul. Lenina, 7, kab. 204 ondarbd@gmail.com

A lullaby song, originated in the most ancient times, is intended for the child to fall asleep. This lullaby art was performed by both women and men. As you know, lullabies of every nation have their own performing traditions, which, for example, include the features of the melody, rhythm, tempo, timbre coloring, introductory and final appeals to the child, etc. In this context, the male lullaby in the form of a song is of extreme scientific interest.(letters. throat singing for a baby), based on the name of the basic type of Tuvan throat singing in general.

The content of the texts of Tuvan lullabies, as a rule, is connoted with everyday life, traditional management and value orientations of the people. The influence of a lullaby on the sensual contemplation of a child was highly appreciated already at the level of the emergence and development of mythological culture, because "it is inseparably connected with the practice of raising children at that very tender age, when a child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply will not survive" ^{[1, C. 7]}. This explains the relevance of studying and popularizing a lullaby in family practice.

The lullaby of the Tuvinians is the object of attention of scientists from different fields of scientific knowledge. Among them are A. N. Aksenov, Z. K. Kyrgyz (ethnomusicology), S. I. Weinstein (ethnography), A. H. Kan-ool (musicology), Z. B. Samdan (philology), G. N. Volkov, G. D. Sundui, A. S. Shaaly (ethnopedagogy), etc.

An important source of the study of the song is the book by A. N. Aksenov "Tuvan folk Music", which for the first time presents information about Tuvan lullabies, texts and notes attached to them ^[2]. In his work, the author draws a parallel of a lullaby with the rite of accustoming a domestic individual to an orphaned cub and shamanic ritual; notes the lulling effect of melodic recitations having a general monotonous character of both the recitation itself and alternating trembling at the end of each phrase, affecting the nervous system of the child [ibid., p.22.].

However, it is necessary to distinguish the melodic recitation of a lullaby with the melodies of shamanic worship, due to the fact that a lullaby, as a rule, is a personal song of appeal to a child, and not a generic form of musical communication of a shaman with spirits, manifested spontaneously by improvisational melody, accompanied by blows to a tambourine. Nevertheless, for all its fragmentary information about the lullaby of the Tuvinians in particular, the book by A. N. Aksenov is invaluable material, because it allows you to link these facts with specific ethnic communities.

A. H. Kan-ool in his research notes that lullabies are related to cattle plots. The carriers of the tradition of Tuvan lullabies among the Erzin Tuvinians are mainly women, but there is also a tradition of performance by men [3. pp. 26-27].

A great contribution to the development of the theoretical foundations of the concept of "okei khomei" is represented by the works of the researcher of the culture of the peoples of Central Asia, S. I. Weinstein, who believed that sometimes the tradition of music-making can occur in culture, but the structure of the melody and the verbal text are always preserved and developed, it is based on historical events related to the dating of the origin of the Tuvan khomei millennia ago back on the basis of heroic tales and fairy tales ^[4.].

Philologist Z. B. Samdan for the first time introduces into scientific circulation a mythological plot about the origin of the Tuvan fairy tale from a lullaby, while rightly calling them a source of ethical and aesthetic education of children. According to the author, a lullaby is a more ancient genre of folklore than a fairy tale and its performing tradition should be considered in a single system of traditional Tuvinian culture: shaman – ham algyzhy, witch doctor's spell – otchunun chalbaryy, onomatopoeia when teaching a pet to a cub – mal alzyry, fairy tale performance – tool ydary, performance of khomey – khomeyleeri etc. ^{[5, pp. 8-15]}.

In modern times, the problem of studying lullabies and lullabies is actively considered in ethnopedagogy in the context of the actualization of family education in the context of globalization as the maintenance of traditional family values. The lullaby song is considered by teachers as pedagogical miniatures ^[1], nature-like pedagogy ^[6], the art of education ^[7]. They rightly point out that a lullaby is a psychophysiological process that includes a sequence of conditional (possibly unconditional) reflexes of recognition and decoding of sounding images; it acts appeasingly, affects the most restless kids.

As we can see, the song culture of the Tuvinians, considered by us as part of the heritage of spiritual culture, has an extensive social context in terms of content.

At the same time , okey hoomey as one of the ancient genres of musical folklore, although it is mentioned in scientific articles by other authors, it has not been subjected to special research, and the authors of this article make an attempt to fill this gap in the context of the general system of Tuvan throat singing. When studying this phenomenon, we used a set of methods: systemic, historical-typological, cultural-historical, ethno-cultural.

For the first time, the term "okei khomei" was presented by us in the article "Lullabies and melodic recitations" in the context when the existence of a male lullaby in the form of khomei became obvious by the results of numerous field expeditions among all groups of Tuvans ^[8]. A little later, the omei khomei was considered by us as a kind of khomei – the basic type of Tuvan throat singing ^{[9, pp. 82-85]}.

What does the word okey mean? In the etymological dictionary of the Tuvan language, 'okey‘ is considered as a word that is used when rocking a child, and the melody to which it is sung, also as ’baby, child‘ ^{[10, p. 405]}; in the meaning of ’sister, brother‘ ^{[11, p. 72,73]} and 'child' ^{[7, P. 42]}. In relation to the latter case, the Tuvan lullaby song is considered as the song of the child – opey yra. The melody of the lullaby is a canonized part of the traditional music of the Tuvinians.

When putting the child to bed before going to bed, adult family members use musically non-intonated speech in the form of a fairy tale (chugaalap ydar), a lullaby song(shuudup okeylaeri), and sometimes a lullaby khomei (khomeylep okeylaeri). 

The phrase okei khomei is translated into Russian by us as 'lullaby khomei', although the word cradle (kawai) is not present in it. This approach is based by us on the value-semantic beginning of the concept of homey homey, associated with the sacred action "homey", which has several meanings at the same time: to sing a lullaby, to lull, to rock, to calm, to pacify, to put to sleep; guaranteeing a healthy sleep of the child. The cradle of the Tuvans has long been considered a cult object, because it was inherited from mother to daughter and, accordingly, in relation to it there is a set of certain ideological ideas and prohibitions, including the technology of its manufacture. In folk songs, the value of the cradle is placed higher than the mother:

Avay, avay avay, avay, Mom, mom, mom, mom,

Avazyngan avayymny. Mom, my dear.

Avayimdan artyk ynak of my mother is nicer

Aattyngan kavayymny.     The cradled cradle is mine.

As is known, performing tradition is understood as the most valuable, collectively generalized, musical and historical experience expressed in established stereotypes, which is transmitted from generation to generation through its accumulation, transmission and reproduction in various types and forms of performing activity.

According to informants, at the heart of all types, varieties and performing traditions of Tuvan throat singing, including shamanic kamlaniya, and the training of queens of domestic animals with a specific color of timbre signs and energy associations, from time immemorial lies the belief in the magical power of words (conspiracies, appeals, well-wishes). This is the main value-semantic component of the performing traditions of Tuvan throat singing.

A distinctive feature of some performing traditions in the melodies of Tuvan lullabies is also an epic tune with inserts of the performance of khomey. At present, a lot of samples of the song performance of Okey khomey have been collected and recorded, but information about the structure of their tunes is not widely presented. Let's consider the variants of the performing tradition of okey khomey among the carriers of this type of art.

According to M. O. Ondara, the performance of the song began in a free declamatory manner with a gentle appeal to the child: "okey", or wishing him sleep "okey, okey okey on, we take it" (analog in Russian: bye-bye, sleep, baby), which is one of the signs of a poetic text. Here, the main genre property is still the singing of the song in the rhythm of the rocking of the child during his lulling. The performance of the same lullaby of the same hoomey The folk song of the Republic of Tyva, E. T. Oyuna, begins with a prosodic element devoid of linguistic semantics, which is characteristic of its performance in a chant. In both cases, the intonation of the lullaby is characterized by a fairly wide range of timbre colors.

K. B. Artyn's lullaby, in its usual female performance, has a one-line structure, intonated to a monotonous chant in a narrow range. The timbre of the performance is characterized by an upper tense pharyngalization of sound in combination with weak nasalization, while a strong tension of the walls of the pharynx during articulation of sound-symbolic syllables creates conditions for the appearance of a clearly audible sliding high formant. The interval between the main tone and the formant ranges from a large decima through an octave to a large terz decima through two octaves.

In each of the above samples of lullabies, a different type of intonation of individual performers is listened to, differing in form and manner of performance, accompanied by their own version of the singing words. For example, in the Ulugh-Khem kozhuun, in the forms of children's ritual folklore, a song-exclamation type of intonation is used, chanting the words:

Okey, okey, okey, saryym, Bayu, bayu, baby, bayu

Oru kor daan, aynyn chyryn.       Look, there's a month in the sky.

Among the texts of lullabies, there are those where there are traces of anxiety associated with evil forces that harm the child. In this regard, the performing omei in a mild form "scares" the baby, as if shielding him from unclean misfortune. That is why animals such as kokai, boru (wolf), koigunak (bunny), hunazhyk (goat), etc. can be present in an improvised lullaby.

In terms of content, the performing tradition of Tuvans as a whole has several features associated with the main type of farming (cattle breeding), religion (shamanism), folklore (fairy tales, songs, throat singing). For example, shamanic kamlaniye uses items of shamanic utensils (tambourine with a mallet, iron bells, shamanic hymns); in the process of accustoming a domestic individual (uterus) to a cub, onomatopoeic melodies are pronounced (tootpalaar for sheep, chuchuulaar for goat, kurulaar for mare, etc.). These traditional forms of pastoral conspiracies require more detailed research. The main means of influencing the female when she is accustomed to the cub are recited magic spells, spells for a certain tune (ayan tudar). For a child, the fundamental thing in a lullaby song as such is the melodic melodiousness of okey khomey.

Important distinguishing features between the same type of melodies of shamanic kamlaniya, the rite of animal habituation of mal alzyry and omey khomey are specific chants of syllables and timbre coloring (gentle melisms in a soft sound) of sounds. The movement is characterized by parallel fifths, quarts, the use of sustained bass sounds. Thus, in lullabies you can find elements of all genres that make up the intonation culture of the Tuvan ethnic group, which is the basis of Tuvan musical folklore.

Melodic-poetic improvisations associated with lullaby rocking of the baby have a specific timbre color, based on sounds – syllables, words of appeals "okey, okey-okey-len" or "u-wai, uvai-an" (ascension to the image of 'umai'i / or ugbai). In lullabies, all attention is paid to the baby 'okeyaa', and therefore some lullabies were called "okeylene". Such structures of melodies belong to the type of so-called "ring" forms - with the repetition of okey, okey, okey, okey, and so on to the end.

In contrast to the usual lullaby song, omei khomei is characterized by a strongly correlated octave laryngolization – a favorite timbre technique. As a rule, the performance of a song in a male lullaby can be used before or after a significant word, at the beginning or at the end of a lullaby.

The term laryngeal (from Greek. larynh – larynx) denotes an explosion and breathing in the larynx. They are formed by covering the entrance to the larynx with the epiglottis. Pharyngalization as a phonetic feature serves for semantic differentiation in the Tuvan language. Narrowing of the pharynx, articulation–acoustic base of singing, in most cases, are like a continuation of speaking (hence: chest, nasal, "nasal" singing; types and techniques of singing: khorekteer, dumchuktaar).

Okei khomei forms a new type of phonation, which differs from speaking timbral and acoustically. At the same time, the opposition to it makes it almost not perceived as a verbal text. When the baby is lulled to sleep, the hoomei is manifested in one of two or six types of lullaby rocking (e.g. uvay, uvay or okey, okey, okey, oru kor daan, okey). The source of music is the human body itself (nose, mouth, throat), with the help of hand movements, singing, produced in the same way as long speech, voice. As in lingual idiophones, the resonator is the intraoral cavity, a form of music-making akin to vocal music, standardized acoustically, with calls to the rhythm of music, and actually existing outside their rhythmic organization, not as musical, but as acoustic phenomena. These include musical sound (at the level of vibration frequency), musical consonances (at the level of vibration frequency ratios) and musical timbre – matter organized by rhythm.

As you know, lullabies are set up in a lyrical way, they differ in an affectionate-chest sound, on the basis of which the child quickly falls asleep and sleeps soundly. At the same time, Tuvinians have recorded another kind of this male song – a song for awakening a child.

The people's khomeizhi of the RT M. D. Ondar says that in early childhood he woke up to the throaty singing of his father, performed, moreover, only in the style of kargyraa. Recall that kargyraa is one of the types of throat singing of Tuvinians and its main form is singing with a clear logical and semantic connection of sounds based on ornamented melodies of wide breathing ^{[9, p.91.]}. Here it should be noted the dependence of the melody and words of kargyraa on the landscape of local development (steppe, mountains, caves). The homey, intended for waking and waking the child, was usually performed by men, because at that time women were engaged in milking cows and small cattle. According to tradition, throat singing was considered the lot of men.

In the texts of the home for the awakening of the child, there is a wish for strong strength, mental development and early adulthood. The child is woken up by stroking his back and stretching his whole body in length, then he is slightly thrown up, saying "ossun, ossun, oru ossun" (grow, grow, grow big in height). The song is sung in the morning, aims the child to learn about the environment in the traditional way. During the performance of lullabies, there may also be elements of a simple action or a hint of plot, which include finger games. In some of them, each finger means a family member and each is assigned some task:

Matpaadyr pashtanzin, let Matpaadyr cook the food,

Bazhy-Kurlug manazyn. Bazhy-Kurlug let him wait.

Ortaa-Mergen odaglanzin,                       Ortaa-Mergen let the fire ignite,

Biche-Moomey buurek-baarak chizin.          Biche-Moomay let him eat a kidney.

In lullabies, pharyngalization plays the role of a super-segmental sign of timbre. The appearance of pharyngalized sounds coincides with the moment of inhalation and exhalation of air. The musical style of okey khomey is distinguished by a variety of expressive means, in particular forced wheezing with a large set of breathy sounds and chanting. Thus, the lullaby omei khomei includes a whole complex of nationally-labeled sound supplies.

The conclusion is that the usual lullaby song and the homey homey are related in the musical-song genre. In a lullaby, the child is addressed repeatedly to lead to the desired result – to induce sleep. They cover a period of time, starting from the birth of a child and up to the time when he begins to occupy himself with this creativity on his own. Having a younger brother (sister), a 2-3-year-old child begins, imitating adults, to sing a lullaby on his own, which contributes to his overall development.

Recordings of the lullabies mentioned in this article were made: h. H. Kuularom in 1973 with the voice of Borbai Sundui Mongushovna (born in 1937, village of Shemi Dzun-Khemchik district); Z. K. Kyrgyz in 1978 with the voice of Ondar Marzhymal Ochurovich (born in 1928, a native of the village of Bora-Taiga of the Suthol kozhuun); K. A. Kyrgyz, B.-D. V. Ondar in 2021 with the voice of Hovalyg Eres Sholbanovich (born in 1995, a native of the village of Bazhyn-Alaak Dzun-Khemchik kozhuun); K. A. Kyrgyz, B.-D. V. Ondar in 2020, Kyzyl with the voice of Artyn Kunzenmaa Baazanovna (born in 1946, a native of the village of Shemi Dzun-Khemchik kozhuun), K. A. Kyrgyz, B.-D. V. Ondar in 2021 with the voice of Eugene Tartyk-oolovich Oyun (born in 1958, a native of the village of Bai-Haak Tandyn kozhuun).