Типовые напевы кожамык тувинцев-тоджинцев

The phenomenon of model tunes is found out in song traditions of various Siberian peoples: Altaians, Buryats, Kazakhs, Siberian Tatars, Tofalars, Tuvinians, Khakasses, Shors, etc. Model tunes are also inherent to the song tradition of Tuva-Toju, a native minority of the North East part of Tuva Republic. The essay is based on the field data of Novosibirsk Conservatoire collected in the close of the XX century. Essential characteristics of the notion “model tune” are local circulation, non-attachment, polytextuality, and typified structure. Tuva-Tojus inhabiting villages Toora-Khem, Iy, Adyr-Kezhig use a limited number of tunes (19) to perform kozhamyks. Non-attachment and polytextuality, polytextuality and typified structure are interrelated. For example, a kozhamyk is mainly a non-attachment genre and may be performed in various situations including some calendar and family rituals. The situation of performing a song causes the content of poetic text improvised during the performance. Themes of kozhamyks vary a lot, but the main image and thematic spheres are love, relations between clans, and laudation of nature (small motherland). The model tunes are used as a constant element for improvisation of poetic texts. The typified structure of kozhamyks of Tuva-Tojus is manifested primarily in the field of rhythm, the modal factor is more flexible. The syllabic structure of poetic texts is based on repeat of 8-syllabic lines organized in 4-lined verses. There can be 6-, 7-, and 9-syllabic lines. In the tune lines are equated in length by means of typified syllabic rhythm. In Tuva-Toju tradition 5 types of typified syllabic rhythm are discovered. The 1 st and the 2 nd types are presented in 4 tunes each, the 3 rd type in 8 tunes, the 5 th type in 2 tunes, the 4 th type in one tune. The repertoire of performers offers one to four tunes, but most times they use only one of these tunes. The tunes are not reserved for certain performers. The performers of one village prefer to choose similar syllabic rhythm types. It is possible that precedently the choice of a syllabic rhythm type was a result of a performer's belonging to a certain clan.