[4] Kurmangazy was born and raised in the Bukey Horde, in what is now Zhanakala District, West Kazakhstan Region, in a place called Zhideli.

Kurmangazy Sagyrbaiuly's origins trace back to the "Kishi Zhuz" (Junior Horde) of the Kazakh people, specifically to the "Sultansiyk" branch of the "Baibakty" clan within the "Baiuly" tribe.

Later, when Kurmangazy married "Aues," the daughter of "Igilik," the "Berish" clan also became his in-laws, further intertwining his life with this historically significant lineage.

Likewise, he passionately played the pieces of his contemporaries, such as Sherkesh, Baizhuma, and Balamaisan, grasping the most truthful essence of time through their music.

In 1830, Kurmangazy was present during the peasants' uprising against Zhangir Khan, led by Isatai Taimanuly from the Berish tribe and his close friend, the fervent poet and masterful composer Makhambet Otemisuly.

Inspired by his prison experiences, he composed several pieces, including "Kairan Shekem" (My Dear Mother), "Erten Ketem" (I Leave Tomorrow), "Kisen Ashkan" (Breaking the Shackles), "Turmeden Kashkan" (Escaped from Prison), "Arba Sokkan" (The Wagon’s Rattle), "Perovsky Marshy" (Perovsky’s March), "Ne Krichi, Ne Shumi" (Don’t Shout, Don’t Make Noise), and "Mashina" (The Machine).

Highly respected within the community, Kurmangazy gathered his disciples, including Dina Kenjeqyzy Nurpeisova, Yergali Yeszhanov, and Mendigali Suleimenov.

During that era, renowned dombra masters such as Kokbala, Menetai, Menqara, Sugirali, Torghaibai, and Shora also regarded Kurmangazy as their mentor.

He learned from the esteemed master Soqyr Yeszhan, exchanged musical insights with the distinguished kyuyshi Dauletkerey, and was influenced by the artistry of Sherkesh, Baizhuma, and Balamaisan.

His compositions such as "Tүрмеден қашқан" (Escaped from Prison), "Кісен ашқан" (Breaking the Shackles), "Ертең кетем" (Leaving Tomorrow), "Бозқаңғыр" (Bozqangyr), "Пәбескі" (Carriage), "Терезеден-есіктен" (Through the Window and Door), "Бозшолақ" (Bozsholak), "Бұқтым-бұқтым" (Buktym-Buktym), "Ne krichи, ne shumi" (Do Not Shout, Do Not Make Noise), "Арба соққан" (Wagon Maker), "Аман бол, шешем, аман бол!"

His compositions such as "Қызыл қайың" (Red Birch), "Ақжелең" (Akzhelen), "Адай" (Adai), "Сарыарқа" (Saryarka), "Балбырауын" (Balbyrauyn), "Серпер" (Serper), "Назым" (Nazym), "Балқаймақ" (Balkaymak), "Бұлбұлдың құрғыры" (Cursed Nightingale), "Ақсақ киік" (Lame Antelope), "Төремұрат" (Toremurat), "Қуаныш" (Joy) reflect the heartbeat of a soul deeply passionate about life.

His compositions such as "Жігер" (Ziger), "Көбік шашқан" (Foaming Waves), "Кішкентай" (Kishkentai), "Ақбай" (Akbai) serve as the reflections of a philosophical composer, offering his assessment of the historical and social realities of his time.

Similarly, his compositions such as "Айжан-ай" (Aizhan-ai), "Айда бұлбұл" (Sing, Nightingale), "Алатау" (Alatau), "Амандасар" (Greeting), "Бас Ақжелең" (Main Akzhelen), "Демалыс" (Rest), "Лаушкен" (Laushken), "Ойбай, балам" (Oh My Child), "Саранжап" (Saranjap), "Теріс қақпай" (Reverse Kakpay), "Ұзақ Ақжелең" (Long Akzhelen) are widely known.

With his powerful compositions, he carried the weight of his time without breaking, just as Makhambet did in poetry, Shoqan in science, and Kenesary on the battlefield—remaining steadfast in his indomitable spirit.

His kuys Aqbay, Aqsak Kiik, Kobik Shashkan, Turmeden Kashkan, and Aday vividly depict a hopeful future, the people's aspirations, and resentment toward the ruling class.

His kuys captivate listeners with their rich melodies, graceful nuances, and powerful energy, creating a whirlwind of emotions with their dynamic tempo.

The melody begins with a somber tone, reflecting his sadness at parting, but as the piece progresses, it gains strength, symbolizing his resilience and hope for freedom.

In 1850, Kurmangazy traveled with his uncles Töremurat, Öten, and Narymbai to rescue a young woman named Qyz Danai from an arranged marriage.

The kuy vividly captures the thunderous gallop of horses and the intensity of battle, while also weaving in the beauty of Danai through soft, melodic passages that evoke her graceful laughter.

According to legend, while fleeing from pursuers, Kurmangazy found shelter beneath the branches of a lone red birch tree standing in the vast steppe.

Deeply affected by the devastation the flood brought upon the people, Qashagan composed the epic poem Topan, where he interprets the catastrophe as a consequence of humanity’s moral decline and indulgence in sin.