Transferring of Kazakh folk music works to music notation and examination of polyphony process between

The country where Kazakhs live today, Kazakhstan, spans a geography extending from the vast steppes of Turkestan to the ancient Turkish homeland of the Altai Mountains. The people living in these vast steppes are called "Kazakh." Its centuries-old history and geography show that the Kazakh people, a nomadic society, have created their own life rituals. As in every society, art holds a significant place and importance in Kazakh culture. The tradition of storytelling with traditional instruments, personified by Korkut Ata in Kazakh history, largely defines Kazakh Folk Music. In Kazakh culture, the tradition of narrating epics and legends with the accompaniment of instruments (dombyra and kyl kobyz) is rooted in this practice. The 19th century is known as the beginning of the period of development in Kazakh Folk Music and Literature. Kurmangazy Sagyrbayuly, Tattimbet Kazangapuly, Kazangap Tilepbergenuly, Dauletkerey Shygauly, and Dina Nurpeisova are the most influential composers and performers of this period, leaving a historical legacy for those who followed. In the 20th century, during the period when the Soviet Union fully took control of Kazakhstan, traditional Kazakh Folk Music was also affected by social, economic, political, and cultural changes. During this period, within the framework of the Soviet Union's cultural policies, Kazakh music was shaped according to official ideology and adapted to Soviet standards. This era can be described as a redesign process for Kazakh Folk Music, which was considered "monophonic and primitive" by the Soviets. Despite this, through the efforts of Kazakh composers and researchers, Kazakh Folk Music preserved its traditional elements and maintained its cultural identity. In this challenging period, the names Ahmet Jubanov and Zataevich come to the forefront. In the research, the evolution and development process of Kazakh music from the past to the present has been examined. In this context, the process of transcribing traditional works into musical notation and the questioning of the new polyphonic understanding have been particularly scrutinized.The research, conducted using the case study method, also included document analysis and interviews with individuals who witnessed the historical period or experienced it directly. Due to the limited number of written sources available on the subject, the data obtained were compared. Transcriptions were made from audio recordings for pieces whose notations could not be found. Based on the sources examined and the interviews conducted, it is observed that Kazakh Folk Music, which has centuries-old roots and stems from the oral tradition, began to undergo a transformation process from the mid-19th century. The transcription of music into notation started from the first quarter of the 20th century. During this period, the compilation of Kazakh Songs allowed many pieces to be preserved and passed down to the present day. The return of Kazakh musicians who studied abroad and the introduction of European music polyphony by Soviet composers and these musicians by using it in their works led to the birth of a new musical understanding. Music schools, conservatories, operas, and orchestras established during the same period facilitated the expansion and spread of this new musical understanding. In the 20th century, the musicians who stood out as composers, educators, and researchers during the transformation/development process of Kazakh Music include Akhmet Zhubanov, Zataevich, Yerzakovich, Kapan Musin, Yevgeny Brusilovsky, Sydyk Mukhametzhanov, Gaziza Zhubanova, and Nurgisa Tlendiyev. Thanks to these individuals, traditional Kazakh Folk Music has both maintained its existence and been introduced to the world by combining with European music techniques.