Syncretic Ethereal Magnitudes of Tatar Culture and its Reflection in “Ozyn Kѳy”

Abstract

In a consistently advancing world, the practice of ‘ozyn kѳy’ has become subject to different changes in the deduction of Tatar music. Beginning, as implied in this article, in Tengri ethereal aspect, ‘ozyn kѳy’ may have been then impacted by the Islamic custom of Koran recitations, its melismatic designs, along with parts of the munajat type (which itself experienced different changes). As a result, it is essential to acknowledge that the current version of ‘ozyn kѳy’carries the marks of both the extensive shamanic culture of the Tengri people and the undeniably flourishing Islamic tradition. The rich practice contains plenty of different impacts and multicultural examples, yet antiquated custom structures its very center. Subsequently, it very well may be acknowledged that, compelling stylistics, figurative symbolism, topical substance of affection and high virtues, and, surprisingly, a few parts of the melismatic singing might start from the old Bulgar (Volga) legacy of Tatar culture, as opposed to being totally acquired from the Islamic and Arabo-Persian culture.