Global Journal of Human-Social Science, A: Arts and Humanities, Volume 22 Issue 5

composition of the audience: among older listeners, the narrator will sing differently than among young people. The emotional mood of the narrator is directly dependent on the level of “preparedness” of the listeners. Good dessanches have their own “admirers” ( goende ), who accompany the singers to their performances, at the necessary moment they cheer the performer with exclamations of “ Sag bol !” (“Thank you!”) or “ Berekella! ” (“Well done!”). After performing tirme songs aimed at attracting attention and warming up the voice of the narrator, the dessanchy, addressing the guests, announces his repertoire. According to the established tradition, the listeners themselves choose the dessan, which the narrator will have to perform that evening. Despite the voluminous repertoire, the folk singer knows exactly the sequence and place of performance of each song. The narrator builds his performance according to the principle of emotional growth. At the beginning, muhannes songs are performed, sounding in a low register, primitive in intonation-melodic and structural terms. As the dramatic action unfolds, the nature of the sound of the song episodes becomes more and more saturated, their emotional tone rises. The climax of the performance is the final song. It is performed at the ultimate tessitura level and with the greatest emotional intensity. So, based on a number of intonational and compositional characteristics, epic songs in dessans can be classified into three groups: initial songs (muhannes) – sounding in a low register, with a range within a quart, undeveloped in a melodic sense; songs of the middle register (ortatap aydymlary) – diverse in terms of melody and composition, with a wide range and active dynamic development; the final song (jemleiji aydymy) is emotionally rich, representing the culmination of the whole work and the final dessan [13, 75]. This order of succession, typical for most of the epic genres of the Turkmens, indicates the use of the laws of musical dramaturgy in the art of singer-narrators. The tradition of mentorship continues to this day. With the opening of educational institutions and the Department of “The Art of Bagshy” at the Turkmen National Conservatory, mentoring traditions received a new content. For five years, young musicians have been studying singing and instrumental skills, adopting the tradition from the hands of a mentor. After completing their studies, bagshy students receive a state diploma and the traditional blessing of mentors. V. G enre V arieties of the E pic H eritage of T urkmens The formation of genre varieties of the epic heritage in Turkmen culture took place in parallel with the process of formation of various types of oral tradition bearers. In the past, professional readers – ravylar, hapyzlar, ashiklar, kyssachylar – in a beautiful voice, without songs, singsongly read parts of poetry and recited prose sections of legends. Starting from the 15 th century, bagshy became the main figure in the musical culture of Turkmens. The classification of works in the repertoire of the Turkmen bagshy-dessanchy reveals the following varieties: 1. Monumental heroic cycles. 2. Folk dessans and author's poems. 3. Ancient legends with music. 4. Musical and poetic transcriptions of poets and thinkers. The first group includes the many-part heroic epics “Gorkut ata” and “Gorogly”. “Along with lyricism and drama, epic is one of the main genres of narrative fiction, which is characterized by the reproduction of an action that unfolds in space and time, in the course of events in the life of characters” [18, 5]. The heroic epic impresses with its multi-layered events and episodes, its monumentality. It consists of a number of chapters, the so-called shah, united by a common idea. Some of the characters, for example, Gorogly himself, his wife Aga- Yunus, adopted son Ovez, horse Gyrat, brave men Sapar Kose, Khandan Batyr, Dyali Myatel, enemies of the hero Hunkar, Reyhan, Leke and others are participants in many chapters of the epic. The tradition of performing the epic “Gorkut ata” existed in Turkmenistan in the 30s of the twentieth century. This is evidenced by the records of 16 chapters of the legend, collected by the folklorist Ata Rakhmanov from the Turkmens of the Chovdur tribe . Chovdur bagshy still reproduce stories about Gorkut, but in the form of legends, without singing, which indicates the disappearance of the living tradition of performing the epic cycle “Gorkut ata”. At present, the central genre of the epic heritage of the Turkmens is the epic “Gorogly”. Its performance is widely demanded in all regions of Turkmenistan. The starting point for the creation of a folk epic was a historical fact, the nature of which was inevitably subject to change. The people, being at the same time the main character and spectator, wishing for ever new adventures and heroic deeds, themselves led to changes in the content and form of the epic: changes occurred during the story of storytellers who could add episodes, complicate the text and introduce old or new songs into it and cliche. The formation of the dessan genre in the Turkmen heritage dates back to a later time. This is the main genre in folklore and literature, in the plot of which the processing of fairy tales, legends and legends is most often used. The word “dessan” is of Persian origin, in Turkmen literature it is used in several meanings: it means a legend, a story in verse and prose, a fabulously © 2022 Global Journals Volume XXII Issue V Version I 15 ( ) Global Journal of Human Social Science - Year 2022 A Turkmen Epos: Origin and Modern Conditions