the Crimean traditional music

Islam forbade devout to practise music for earnings, therefore weddings and feasts played only gipsies. They spoke in the krymsko-Tatar language, anyway, sang only on it. Children from notable Tatar families were usually trained in music, but only for own pleasure. Execution of songs and classical tool melodies necessarily demanded from executors and own improvisations. The Crimean music quite often names a jazz, but roots of its improvisations much ancient though present musicians and use methods of the Latin American or Afro-American jazz.

Besides Gipsy, and it is possible, the Jewish influence, in the Crimean music it is a lot of and from cultures of other people. The Crimean khans had military orchestras in which captured virtuosos from Moldova played, Bulgaria, Georgia, Persia and other countries. The group of traditional melodies has the name "-цхчршЁ" (Algeria), but is the most popular, is final both classical, and modern music of Turkey.

The Crimean Tatars lived In a South careful and mountain part together with the Crimean Greeks - orthodox tjurko-jazychnym the population of the general difficult roots, often entered mixed marriages. Here the interdiction for musical employment, possibly, was not so strict. As well as an interdiction for wine consumption. Anyway, such musical form as "фюыѕ" it is executed how feasting (on wedding or a holiday) drink alcohol. Composer Fevzi Aliev who has published the monography about the Crimean folk music, considers that so difficult and archaic form could not arise only in a Soviet period. This genre has been created for hanskih feasts so most approaches tourists for acquaintance to kitchen and culture of Crimea.

In a Soviet period and especially in deportation where the Crimean gipsies have been sent together with Tatars, there was a full merge of culture. Modern krymskotatarskaja music, especially jazz, is very original, has special rhythmics (for example, 7/8 – 2/8+2/8+3/8) and ladovyj a system, relatives only to the ancient Balkan people. For example, it dorijsky and frigijsky minor frets, miksolidijsky major and other Ancient Greek frets which have surprisingly remained throughout more two thousand years.

In 1837 I.Ayvazovsky has informed composer I.Glinka three Tatar tunes, and soon they have appeared in Lezginke and in the Andante in the third certificate "рѕёырэр and -¦фьшы№". N.Rimskij-Korsakov and its pupils A.Glazunov and A.Spendiarov have been shaken and fascinated by unusual rhythmics of the Crimean music.

Now there is a present cultural explosion in the field of music. In tens the small orchestras playing music for weddings and holidays, there are present virtuosos. For zvukoizvlechenija at game on a clarnet, a flute, a violin the Gipsy floating height of tone, a certain anguish and crying is characteristic. In game on an accordion or a pipe the effect of a murmuring sound is given by special vibration of fingers. In a combination to a difficult jumping drumbeat and a vibrating deep vocal the present separation from templates pop globalizma turns out. On modern synthesizers local virtuosos manage successfully to simulate ancient Mediterranean and Asian tools. And on an electroguitar Enver Izmaylov (a jazz trio "¦шэрЁх=") plays absolutely in a special way: taking an additional melody postukivaniem fingers on strings directly on a signature stamp.

Igor Rusanov