Dancing Identities: The Waltz as a Cultural Bridge in Kazakh Music Ryskulov Kuanysh Toktarbaevich [Рыскулов Куаныш Токтарбаевич], Gulnar Alpeissova Tuyakbayevna [Альпеисова Гульнар Туякбаевна], Akparova Galiya Tolegenovna [Акпарова Галия Толегеновна] , Nurtaza Raushan Sabyrzhanovna [Нұртаза Раушан Сабыржанoвна] ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 16 (2025) https://doi.org/10.30819/aemr.16-7     pp: 85-94     2025-12-08

Stichworte/keywords: Kazakh waltz, vocal genre, cultural adaptation, East-West dialogue, popular music

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Abstract
This paper examines the cultural transformation and vocal adaptation of the European waltz genre in Kazakh music. Although the waltz originated as a social dance in 18th-century Europe, its evolution in the Kazakh context illustrates a dynamic intercultural process shaped by national aesthetics, folklore traditions, and the specifics of vocal music. In the study, we consider the appearance of the waltz in Kazakh music in the 1930s and 1950s and examine how composers such as Latif Khamidi, Nurgisa Tlendiev, and Shamshi Kaldayakov adapted this form to pop vocal music. The analysis demonstrates how the waltz transformed from a dance form into a poetic and emotional vocal genre reflecting the national worldview and musical identity. Special attention is paid to the legacy of Shamshi Kaldayakov, who is often called the ‘King of the Kazakh waltz’, whose melodies made this genre truly popular. It is clearly shown that the pop waltz in Kazakh music is not just a genre phenomenon but also a form of cultural dialogue between tradition and modernity, and between the national spirit and a universal musical language.