Like other Central Asian literature, the Kyrgyz also has its roots in the poetry of acynes (folk songs) with its lamentations and didactic pieces. Here there is a rich treasure of fairy tales, legends and proverbs, but above all the great epic about the national hero Manas, comprising more than 500,000 rows (recorded in excerpts first in 1856). Notably, among the Kyrgyz acynes was Toktogul Satylganov, one of the first to record his bald art when the Kyrgyz became a written language in 1924. Toktogul also used his traditional images to sing the new Soviet power in Kyrgyzstan. A loyal Soviet Kyrgyz lyricist and proseist has been Aaly Tokombayev, who used the so-called socialist realism in his works which also contains international outlook.
- Countryaah: Population and demographics of Kyrgyzstan, including population pyramid, density map, projection, data, and distribution.
Modern Kyrgyz literature is mainly represented by Chingiz Ajtmatov, in whose extensive prose production (mostly directly in Russian) the Soviet society’s moral problems were embodied in the light of the myths and tales of his homeland.
Music traditionally has a lot of space among Kyrgyz. Related to Kazakh and Turkmen music, the music in Kyrgyzstan is linked to rural, nomadic ways of life and, for the most part, orally practiced. The songs (dizzy) are unanimous and soloistically performed. They consist of one or two diatonically constructed phrases that are repeated in constantly new complicated rhythmic patterns. There are a number of genres related to agriculture, livestock care, family life and partying. For work, party and social gatherings, songs were improvised on fixed musical motifs. A genre with national status is manas, epics or fairy tales, which are sung, mimicked and dramatized by professional omigrant storytellers (manastji). Narrative songs are performed by bards (acynes), who are often also prominent equilibrists on komuz (three-stringed long neck). These have long been gathered for vocal competitions: prominent ones include Toktugul Satylganov (1864-1933).
The instrumental music kju (or k邦邦) is two- or three-part and is performed soloist, usually on komuz, and often with a focus on variation in rhythm, rhythm and timbre, rather than in melody lines. As with many neighbors, the content is often programmatic, narrative. Other instruments are kyjak (two-stringed string instrument), temir-komuz (mungy) and tjoor (flute). Some instruments are linked to forms of shamanistic religious practice, such as the drum drum dobulba and the rhythm instrument asa-tayak. From military orchestras at the Uzbek courts, surnaj, (shalmeja) surbasnag (flute) and doolbase were introduced (timpani).
Following a Russian model, in 1936 a national folk instrument orchestra, the Kambarkan ensemble, was created, and at the same time introduced western Russian art music with the Philharmonic Orchestra (1936), opera and ballet theater (1942), higher music education in Frunze (Bishkek) and other smaller cities. Among the first generation composers are Vladimir Vlasov (1902-86), Vladimir Fere (1902-71) and Abdylas Maldybajev (1906-78), with operas, ballet music and symphonic works with elements of folk motifs, and in a younger generation, among others. a. Murat Begalijev. A popular singer is Salamat Sadikova (born 1956). Relatively few Kyrgyz musicians have established themselves as artists in globally distributed genres such as rock, hip-hop and rap.