SYNERGETIC APPROACHES TO COMPREHENDING THE

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педагогика музыкального образования и других, раскрывающих новые грани творческого 
наследия великого Абая – философа и гуманиста, поэта и музыканта конца XIX начала XX 
века.
Түйін 
Қазіргі уақытта Қазақстанда болып жатқан ұлттың рухани жаңғыруымен және 
өзінің менталитетін түсінумен байланысты жаһандану және мәдени өзгерістер дәуірі 
отандық музыкалық мәдениет пен өнерді дамытудың, оның ішінде Абайдың музыкалық-
поэтикалық мұрасының концептосферасын XIX ғасырдың аяғы мен ХХ ғасырдың басындағы 
философ және гуманист, ақын және музыкант - ұлы Абайдың шығармашылық мұрасының 
жаңа қырларын ашатын философия, психология, мәдениеттану, әлеуметтану, этика, 
эстетика, музыкалық білім беру педагогикасы және басқалар сияқты әлеуметтік-
гуманитарлық пәндердің синергиялық байланыстарының өзара іс–әрекетін көздейтін басым 
проблемаларды парадигмалық түсіну призмасы арқылы зерттеудің жаңа тәсілдерін ашуға 
мүмкіндік береді. 
Successful implementation of Kazakhstan society renewal social projects and 
reforms, peace and harmony in interethnic relations, improvement of people's quality 
of life depend on the level of modern culture development, modernization of public 
consciousness, determination of the comprehension vector of education educational 
potential as the basis of progressive development of Kazakhstan society. 
Сultural heritage preservation, careful attitude to natural riches, maintenance of 
different peoples original cultures, establishment of contacts for mutual understanding 
and enrichment of cultures, development of individual spiritual interests - all these are 
global problems that require a combination of modern society efforts and energy, 
cultural workers and artists and each person, in general. In spiritual and moral activity 
the process of self-development and self-realization of a person is carried out, when on 
the basis of historical heritage mastering of world and national culture, upbringing and 
education, spiritual values are created, cognitive abilities to knowledge, creativity and 
communication are developed. National culture and art have always supported and 
expressed the spiritual and moral potential of the people, without which the existence 
and spiritual development of both ethnos and individual personality is not possible and, 
rather, would lose all meaning. It is known that any nation that is deprived of traditions, 
folk folklore and art, is doomed to extinction, it is in them are concentrated centuries-
old fundamental values of the people, its spiritual, moral and socio-cultural experience, 
which has a strong influence on the inner world of man, strengthens his spiritual 
potential, contributes to the formation of his personal qualities. General problems of 
the relationship between man and musical culture, the processes of formation of the 
individual spiritual world, the formation and realization of abilities, gifts, talents, the 
embodiment of creative potentials in the activity and its results through the music 
education prism, it should be noted that it contributes to the value orientations 
development and interests of the creative personality formation. 
In terms of the above, we should pay special attention to synergetic approaches 
to conceptualizing the conceptosphere of Abai Kunanbaev's musical and poetic 
creativity, which is so multifaceted and little studied. The study of the conceptosphere 
of Abai's musical-poetic heritage allows us to see the implicit (internal) unbreakable 
age-old connection with the national consciousness, with traditional culture, saturating 
it with fruitful life-giving impulses, allowing us to reveal new facets of the poet's 

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musical-poetic creativity, which are imbued with deep universal wisdom, 
“anthropology” in the formation of the human nature spiritual side as a whole. 
Regarding the characterization of the "concept" in modern times is again 
actualized and rethought, which marks a new stage in the study of ways and patterns 
of interaction between language, consciousness and culture, hence - highlighting new 
aspects of the relationship between linguistics, cognitive science, cultural studies, as 
well as psychology, philosophy and other sciences. Back in the 30s of the last century 
S. Askoldov determined that the nature of concepts question (general concepts) is a 
mental formation, replacing in the process of thinking an indefinite set of same kind 
objects [1, 267]. The concept is formed by speech, sanctified by the Holy Spirit and 
therefore is realized “on the other side” of grammar or language - in the space of the 
soul with its rhythms, energy, intonation” believed P. Abelard [2, 141]. The 
phenomenon concept is a sufficiently studied cognitive unit functioning in the thought 
process. In different philosophical and linguistic doctrines there are many definitions 
of the concept today. Thus, in modern cultural studies there are two main approaches 
to understanding the concept phenomenon: linguocultural (Y. Stepanov, V. Kolessov) 
and philosophical (J. Deleuze, F. Guattari). Adherents of the first approach understand 
cultural concepts as “key words”, trying to characterize the national cultural 
experience. Proponents of the second approach define a concept as a “becoming event 
plurality”. Relying on these versions of concept understanding E. Kubryakova 
considers “the concept as a tool of analysis, which allows the researcher to stay above 
the abyss of philosophical generalizations, to avoid the rigidity of categorical embrace 
of sociology and not to suffocate in the dizzying flurry of facts” [3].
The concept itself is a sufficiently studied cognitive unit functioning in the 
thinking process. The lack of a single definition can be explained by the fact that the 
concept is characterized by a rather complex structure, containing, along with the 
conceptual basis, important social, mental and cultural components that are thought 
and experienced by the native speaker; it includes emotions, associations, evaluations, 
images and connotations inherent in a particular culture. Based on the analysis of 
definitions, it follows that a meaning is a concept immersed in culture, possessing 
emotionality, axiologicity and having a name in the language. 
From the musical art position, an adequate reading of a musical art work can 
nowadays be based on modern scientific data in the interdisciplinary knowledge field, 
confidently confirming the reality of the conceptosphere existence and its constituent 
concepts - some abstract thought formations in human consciousness, generalizing 
various attributes of the reality world. A. Amrakhova notes that “a concept is not a 
word, it is much broader in its semantic volume ... a concept gravitates towards 
probabilistic images and is directed towards them, as it is constantly changing in its 
eternal readiness to enter into new associative connections. In an artistic concept 
“generic” may not always be expressed, more often it is an intersection of associatively 
charged images” [4, 43] [4, 43]. Moreover, the author states that “a concept is the 
“soul” of a meaning-carrying mental act ... A concept in music - genre, style, 
intonation, rhythm formula, compositional scheme, etc. is presented as a prototype, an 
“ideal model” organized by “mental interpretation “instructions”- schemes, scripts or 

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frames" [4, 42-58]. [4, 42-58]. Thus, the study of important characteristics of the 
musical art space, in which physical and mental reality are united in the experience act, 
is a fascinating process of revealing its essential existence in culture. In studying the 
musical text meaning, it is important to identify the basic cultural concepts and 
fundamental stereotypes of consciousness as integral components of the musical 
conceptosphere, broadly extending beyond music proper and encompassing the 
patterns inherent in other reality phenomena. We are impressed by A. Ahramova's 
opinion that “the conceptosphere of musical art, as a kind of semantic “field” of culture, 
contains in a “rolled up”, coded form the features of cultural epochs and styles, their 
worldview and spiritual content, crystallized typical elements of musical language and 
speech, forming ideas about the features of musical thinking and worldview” [4, 42-
58]. [4, 42-58]. 
In general, the transformation of the above-mentioned material to our study 
allows us to discover, from a new view point, synergistic approaches to the study of 
the stated topic, where the focus is on the development of general laws of ethnoculture 
development evolution and its self-organization in the complex systems of cultural 
studies and art history. Undoubtedly, this entails profound changes in approaches to 
the world study on the basis of interdisciplinary connections. After all, synergy means 
“joint action”. Synergetic approach, in terms of content, in relation to the topic of our 
study, allows us to see in the structure of the conceptosphere of Abai's musical and 
poetic heritage a technology of personal growth of self-organization processes of “self-
building” and self-improvement. 
Approaching the study of this topic, we consciously depart from the issues of 
characterization of Abai's life activity and focus on the three interpenetrating constructs 
of Abai's creativity: “music" – “poetry” – “conceptosphere”, taken in a single cultural 
and creative unity of the cognition processes, comprehension and refraction through 
the musical education prism.
In the our study context it can be noted that for many decades Abai's musical and 
poetic creativity has been studied by experienced scientific researchers in the field of 
art and musicology, such as A. Zataevich, V. Belyaev, G. Chumbalova, M. 
Akhmetova, A. Zhubanov, V. Dernova, B. Erzakovich, G. Bissenova, A. Sabirova, R. 
Sydykova, T. Eginbaeva, L. Kakimova and others. From these studies, we learn that 
Abai is not only a poet, but also a composer. His song creations significantly enriched 
the Kazakh song art. Abai's melodies and poems have found deep refraction in classical 
works of various genres of professional musical art. It is well known that Abai wrote 
15 cues for dombra and 25 author's songs, which, occupying a special place in the 
ethnomusicological culture of Kazakhs, laid the foundation for the development of 
Kazakh romance.
For example, only Abai’s one song of “Men kordim uzyin kaiyn kulagynyn” was 
reflected in the works of E. Brussilovsky, A. Zhubanov, M. Tulebayev, L. Khamidi. 
This song itself is a kind of culmination in the Abai's songwriting musical 
development. It is problematic, saturated with invisible threads of dramatic 
development. The main idea is revealed through allegory: the image of a “lonely birch 
tree” - the image of a “lonely poet”. The work is autobiographical to some extent. This 

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very song became the main leitmotif of the symphonic poem “The Lonely Birch” by 
E. Brussilovsky. In the opera “Abai” composers A. Zhubanov and L. Khamidi saw in 
the song “Men kordim...” an opportunity to develop a dynamic line that ends with a 
tragic denouement. The very presentation of Abai's song “Men kordim...” with a 
laconic form, with a comfortable tessitura, with refined dynamics, restrained in the part 
of Aidar (I d., 1k.) subconsciously sets the listener to perceive the tragic thought, which 
is enhanced by musical and expressive means of orchestral texture, soloists, chorus. 
The composer M. Tulebayev turns to the same Abai song. His romance “Men 
kordim...” with its laconic form, comfortable tessitura, refined dynamics, and 
restrained piano accompaniment is a classic example of the first romances of the 
Kazakh professional composer school. 
The study of the conceptosphere of Abai Kunanbaev's musical and poetic 
heritage allows to reveal new facets of his value, spiritual and moral potential of 
peacefulness, world understanding, inspiration, creation for the his people prosperity. 
This ethno-cultural and state identity is achieved not only through continuous 
professional education, but also through artistic and aesthetic impact on the person by 
means of music, word of fine arts. According to T. Gabitov: “Through the aesthetic 
impact and enjoyment received by a person in the process of artistic creation and 
perception of art, its educational influence, and informing, and cognition, and transfer 
of experience in artistic (folk) creativity is realized: It is intertwined and interpenetrated 
in the conceptospheric triad: “personality - nation – humanity”, in its dialectical 
interaction, determining the structure of figurative thinking, national life-historical 
experience, which is inimitable and dialectic national [5, с.312]. 
Thus, summarizing the above-mentioned, let us conclude our study with the 
opinion of the Kazakh writer G.Belger “...to comprehend Abai in all his spiritual power 
and diversity, it is necessary to rise to the same peak on which he stands. Abai is 
immeasurably deeper than we are able to understand and comprehend so far. As a 
phenomenon, as a personality, he is even deeper than his own creativity...” [6, p.34]. 
[6, p.34]. 

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