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7ISSN 2992-9024 (online) 2024, №10
Ilmiy-nazariy va metodik jurnal Научно-теоретический и методический журнал Scientific theoretical and methodical journal
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Original paper
ISSUES OF UZBEKISTAN TRADITIONAL FOLK PERFORMANCE
© Umid R. Baltayev1^_
1Urgench State University, Urgench, O'zbekiston
Annotation
INTRODUCTION: this article analyzes the issues of Uzbek folk traditional instrumental music performance. Uzbek folk music is distinguished by its rich history, artistic excellence and diversity of performance styles. The study highlights the specific features, stylistic aspects of traditional instrumental performance and its place in the modern music education system. It also reveals the role of the teacher-student tradition in the development of performing skills, the technical capabilities of instruments and their importance in creative performance. The article also considers current problems in the preservation and development of traditional performing culture and their solutions.
AIM: studying the issue of performing folk instrumental music of Uzbekistan.
MATERIALS AND METHODS: This article uses a qualitative and analytical approach to the study of the performance of folk instrumental music of Uzbekistan. The article uses the methods of historical, comparative and systematic analysis in the study of the formation of the national instrumental ensemble.
DISCUSSION AND RESULTS: if you listen to the instrumental lines of maqoms, you will clearly notice that they consist of melodies that are both sad, gentle, peaceful, and inspiring. When you combine maqoms with the hundreds of instrumental lines created on their basis, they constitute a very large part of the musical heritage of our people.
CONCLUSION: In conclusion, the performance of traditional Uzbek folk instrumental music is an integral part of national culture, and its preservation and development are of great importance. The results of the study show that traditional instrumental performance is an effective tool for developing the skills of young performers with its unique technical and artistic methods.
Key words: traditional music, instrumental performance, Uzbek folk music, performance style, teacher-student tradition, performing skills, technical capabilities, musical culture, modern education, musical heritage.
For citation: Umid R. Baltayev. (2024) 'Issue of performing folk instrumental music of Uzbekistan, (10), pp. 550-556. (In Uzbek).
MENTAL MUSIC
ВОПРОСЫ ИСПОЛНИТЕЛЬСТВА НАРОДНОЙ ИНСТРУМЕНТАЛЬНОЙ МУЗЫКИ УЗБЕКИСТАНА
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2024, ISSUE 10
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© У.Р. Балтаев1Н
Ургенчский государственный университет, Ургенч, Узбекистан_
Аннотация
ВВЕДЕНИЕ: в статье анализируются вопросы исполнительства узбекской народной традиционной инструментальной музыки. Узбекская народная музыка отличается богатой историей, художественным мастерством и многообразием стилей исполнения. В исследовании освещаются специфические особенности, стилистические аспекты традиционного инструментального исполнительства и его место в современной системе музыкального образования. Также раскрывается роль традиции учитель-ученик в развитии исполнительского мастерства, технические возможности инструментов и их значение в творческом исполнительстве. В статье также рассматриваются актуальные проблемы сохранения и развития традиционной исполнительской культуры и пути их решения.
ЦЕЛЬ: изучение вопроса исполнительства народной инструментальной музыки Узбекистана.
МАТЕРИАЛЫ И МЕТОДЫ: в данной статье был использован качественный и аналитический подход к изучению вопросов исполнения народной инструментальной музыки Узбекистана. В статье использованы методы исторического, сравнительного и системного анализа при изучении процесса формирования национального инструментального ансамбля.
ОБСУЖДЕНИЕ И РЕЗУЛЬТАТЫ: если вы послушаете инструментальные партии макомов, то отчетливо заметите, что они состоят из мелодий, которые одновременно грустны, нежны, умиротворяющи и вдохновляют. Когда вы объединяете макомы с сотнями инструментальных линий, созданных на их основе, они составляют очень большую часть музыкального наследия нашего народа.
ЗАКЛЮЧЕНИЕ: в заключение хотелось бы отметить, что исполнение традиционной узбекской народной инструментальной музыки является неотъемлемой частью национальной культуры, и ее сохранение и развитие имеют огромное значение. Результаты исследования показывают, что традиционное инструментальное исполнение является эффективным инструментом для развития навыков молодых исполнителей с его уникальными техническими и художественными приемами.
Ключевые слова: традиционная музыка, инструментальное исполнительство, узбекская народная музыка, исполнительский стиль, традиция учитель-ученик, исполнительское мастерство, технические возможности, музыкальная культура, современное образование, музыкальное наследие.
Для цитирования: Балтаев У.Р. Вопроса исполнительства народной инструментальной музыки Узбекистана. // Inter education & global study. 2024.
№10. С. 550-556.
Ilmiy-nazariy va metodik jurnal ISSN 2992-9024 (online)
Научно-теоретический и методический журнал 2024, №10
Scientific theoretical and methodical journal
INTER EDUCATION & GLOBAL STUDY
O'ZBEKISTON XALQ CHOLG'U MUSIQASINI IJRO ETISH MASALALARI
© U.R. Baltayev1^
1Urgench davlat universiteti, Urgench, Uzbekistan_
Annotatsiya
KIRISH: maqolada o'zbek xalq an'anaviy instrumental musiqasini ijro etish masalalari tahlil qilinadi. O'zbek xalq musiqasi boy tarixi, badiiy mahorati va ijro uslublarining xilma-xilligi bilan ajralib turadi. Tadqiqotda an'anaviy instrumental ijrochilikning o'ziga xos xususiyatlari, stilistik jihatlari va uning zamonaviy musiqiy ta'lim tizimidagi o'rni yoritilgan. Shuningdek, o'qituvchi-talaba an'analarining ijro mahoratini rivojlantirishdagi o'rni, asboblarning texnik imkoniyatlari va ularning ijodiy ijrodagi ahamiyati ochib berilgan. Maqolada, shuningdek, an'anaviy ijro madaniyatini saqlash va rivojlantirishning dolzarb muammolari va ularni hal qilish yo'llari ko'rib chiqiladi.
MAQSAD: O'zbekiston xalq cholg'ularini ijro etish masalasini o'rganish.
MATERIALLAR VA METODLAR: ushbu maqolada O'zbekiston xalq cholg'u musiqasini ijro etish etish masalalarini o'rganishda tadqiqotning sifatli va tahliliy metodlariga asoslangan yondashuv qo'llanildi. Maqolada milliy cholg'u asboblari ansamblining shakllanish jarayonini o'rganishda tarixiy, taqqoslash va tizimli tahlil metodlaridan foydalanildi.
MUHOKAMA VA NATIJALAR: agar siz makomalarning instrumental qismlarini tinglasangiz, ular bir vaqtning o'zida qayg'uli, yumshoq, tinch va ilhomlantiruvchi ohanglardan iborat ekanligini aniq sezasiz. Agar siz makomalarni ulardan yaratilgan yuzlab instrumental chiziqlar bilan birlashtirsangiz, ular xalqimizning musiqiy merosining juda katta qismini tashkil qiladi.
XULOSA: xulosa qilib an'anaviy o'zbek xalq cholg'u musiqasini ijro etish milliy madaniyatning ajralmas qismi bo'lib, uni saqlash va rivojlantirish katta ahamiyatga ega. Tadqiqot natijalari shuni ko'rsatadiki, an'anaviy instrumental ijro o'ziga xos texnik va badiiy texnikasi bilan yosh ijrochilarning mahoratini oshirish uchun samarali vositadir.
Kalit so'zlar:
Iqtibos uchun: Baltayev U.R. Issues of Uzbekistan traditional folk instrumental musik performance. // Inter education & global study. 2024. №10 B. 550-556.
In the peoples of Central Asia, instrumental music has long been performed in the form of individuals and large and small groups at folk weddings, funfairs, folk festivals, and holidays. Later, it developed in special groups in the palaces of rulers, adapted to its time, improved, and passed its development period to reach our present day in its perfect form. It should be noted that the same instrument that existed in one people also exists in another and is called by different names. (gijjak, kemancha, etc.) The appearance, internal and external appearance, and construction of the instruments may not differ much from each other. However, the most important issue is that no matter what nationality the instrument
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belongs to, the most important thing is the skilled performer and his role and dignity in the performance.[3].
Even if the instrument is decorated with very beautiful, very subtle decorations, if it does not find expression in performance, it will eventually fall out of use on its own. Due to the efforts of the masters and their research into performance, they have contributed to the establishment of local performance styles that are also unique in traditional instrument performance. Representatives of the Fergana-Tashkent local style of performing arts school - in Andijan: - Tokhtasin Jalilov, Muminjon Jabborov, Sobirjon Siddikov, Mamataziz Niyozov, Ganijon Toshmatov, Komiljon Jabborov, Gulomjon Khojikulov, Yunusqori Yusupovs, etc., in Namangan - Muhiddinhoji Najmiddinov, Usta Ruzimatkhan Isaboev, Karimjon Mansurov, Ziyovuddin Shamsiddinov Abdugofur Niyozaliev, Abdukakhor Mansurov, in Fergana - Mukhtorjon Murtazaev, Rafiqjon Akhmedov, Abduhoshim Ismailov, Qahramon Umarovs, in Tashkent - Imamjon Ikromov, Ilkhom Turaev, Zokirjon Siddikov, Yakub Buva, Akmalkhon Sufikhanov, Sunnat Samadov, Gulomjon Mirzaev, Kommunar Komilovs, in Bukhara - Aminjon Ismatov, One can cite various oasis performers and their successors, such as Samenjon Voxidov, Kadir Sukhonov, Asliddin Nasriddinov, Olmas Rasulov.
It is of great importance to highlight the specifics of traditional performance, to apply its theoretical and practical foundations to a broader musical education process. There are high practical skills in all aspects of national music performance. The performance styles, opinions, and analytical views of our sensitive teachers who have created in this regard fully meet the requirements of today. The positive impact of the teachers' performance styles on the development of our young archery performers can be observed in practice.
A maqom is a set of melodies and songs that correspond to a certain key and begin with a certain pitch. In the direction and interpretation of modern music, there are two different connections with Shashmaqom. Based on the synthesis of Bukhara Shashmaqom and Fergana-Tashkent maqom traditions, the national Shashmaqom was formed in the 20th century. It can also be called Tashkent Shashmaqom or Uzbek Shashmaqom[7].
Bukhara is the homeland of Shashmaqom and the place where this art developed. The history of the formation of Bukhara Shashmaqom has not yet been sufficiently studied. Due to the lack of reliable sources about the past of this art, unfortunately, the discussions on this subject are of an abstract nature. We do not even have a clear idea of what Shashmaqom represented in the Bukhara court traditions of the late 19th and early 20th centuries. The earliest mention of the term Shashmaqom dates back to 1847. Judging by the collections of performed poems and Persian-Tajik musical treatises, Shashmaqom was not unified into a single system until the second half of the 19th century. The great task of bringing it into a single cycle was undertaken by the famous Bukhara musician Ota Jalal (1845-1928). Ota Jalal was the last major successor of the Bukhara Shashmaqom tradition, the head of the palace musicians-makom during the reign of the three Bukhara emirs. It is Ota Jalal who, relying on important musical canons,
ISSN 2992-9024 (online) 2024, №10
Ilmiy-nazariy va metodik jurnal Научно-теоретический и методический журнал Scientific theoretical and methodical journal
INTER EDUCATION & GLOBAL STUDY
It is necessary to once again recognize that the primary tool for memorizing works in the mushkilot (instrumental) and prose (song) sections of Shashmaqom, folk art, and composition is the "khirgoyi". Because, before the student picks up the words, singing the performance program, that is, the melody of the works through his "khirgoyi", is an important factor in mastering the program. This is the difference between traditional performance and academic performance. If the work to be mastered finds its expression in the "khirgoyi", it is natural that learning and memorizing subsequent melody fragments will be somewhat easier[9].
There is a unique interpretation of the patterns in the shashmaqom instrument and prose, and the creation of appropriate laments and refrains in the performance of Tasnif, Tarje', Gardun Mukhammas and Sakils is the main process of maqom performance. Excessive laments can cause confusion in the content of the melody. Attention must be paid to the use of musical decorations in the performance. There is another important task in traditional gijjak performance. That is, the use of open strings less in the performance process. The fact that the performer replaces the open sounds Mi, Lya, Re Sol with his own fingers has a positive effect on the smoothness of the melody.
The fact that a certain motif or melody fragment in maqoms is used several times indicates its popularity. In this way, a certain motif or melody becomes a familiar melody for the listener in the composition of various maqom melodies. This was also a certain way of promoting instrumental melodies in its time[10].
It is no coincidence that the instrumental melodies of maqoms were widely popular among the people. The Dugoh, Segoh and Iraq instrumental melodies and the melodies created on their basis were even performed on the trumpet and were widely spread among the masses. Another reason why maqom instrumental melodies have become popular is the existence of a connection between them in terms of melody and melody with ordinary folk melodies. These popular elements in shashmaqom instrumental melodies also had a strong influence on the work of professional folk musicians, and were used fruitfully in the works they created. Since shashmaqom is closely related to folk melodies with its structure and other features, such creative works are embodied by composers as further developed musical works.
The issue of the relationship of maqom instrumental paths to folk melodies is of great scientific and practical importance. The clarification of this issue shows, firstly, that maqom instrumental paths were created on the basis of folk musical treasures, and secondly, their position in folk musical creativity in recent times.
The basis of maqoms is folk melodies themselves. They are not only related to folk musical creativity, but also have a beneficial effect on its development in recent times. Maqom instrumental paths and folk melodies have enriched and improved in their relationship with each other, and the fact that shashmaqom instrumental paths, like folk music, have a variety, attractiveness and rich content, further increases their value[8].
The qualities of instrumental performance such as nationality, artistic perfection, originality, content, and expressiveness have always been valued in the field of musical
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art, and therefore the creative heritage of the masters is being studied by the younger generation. The field of performance is increasingly recognized internationally not only in its original traditional form, but also in the areas of composition. The immortality of the performance, which relies on ancient national traditions with high professionalism, deep knowledge, and delicate taste, can be clearly seen in the examples of several past masters and performers of the next generation[11].
Today's recordings of our traditional music, which has been passed down orally from master to student, on sheet music, records, and magnetic tapes, and live performances are effective in shaping young musicians and singers into specialists.
The role of the teacher-student tradition in continuing the performing culture is incomparable, and through this method, the national musical heritage is being passed down from generation to generation. Also, by integrating traditional instrumental performance methods into the modern education system, the quality of performance and the effectiveness of aesthetic education can be improved. It is necessary to ensure the continuous development of traditional instrumental music art by solving existing problems, including improving teaching methods and increasing interest in performing national music among the younger generation.
ADABIYOTLAR RO'YXATI | СПИСОК ЛИТЕРАТУРЫ | REFERENCES
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2. Fitrat A. Uzbek classical music and its history. Tashkent, 1993. P. 70.
3. Mironov N. Review of musical cultures of Uzbeks and other peoples of the East. Samarkand, 1931. P. 29.
4. Romanovskaya E. Statistics and reports. Records of musical folklore. Tashkent,
1957. P. 37.
5. Otanazar Matyokubov. New concept of the Uzbek national art of maqom // "21st century music art: problems and solutions". Collection of international conferences. -Tashkent, 2018. P.305-313.
6. Matyaqubov O. Khorezm dutar maqoms and six-and-a-half maqoms. Tashkent, 2018. B.16
7. Matniyaz Yusupov. Uzbek folk music. Volume VI. Khorezm maqoms. Tashkent,
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8. Mahmudov T. Secrets of perfection.-T.: Adolat, 2006.
9. Rajabov, Tuxtasin Ibodovich. PRACTICAL SITUATION OF TEACHING UZBEK MUSICAL FOLKLORE IN THE CONTINUOUS EDUCATION SYSTEM. International Journal of Early Childhood Special Education (INT-JECSE) DOI:10.9756/INTJECSE/V14I6.77 ISSN: 1308-5581 Vol 14, Issue 06 2022. 708716- bet
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10. Madrimov, Bakhram Khudoynazarovich, and Tokhtasin Ibodovich Rajabov. "Uzbek Ceremonial Folklore and its Characteristics." Nexus: Journal of Advances Studies of Engineering Science 1.4 (2022): 53-56.
11. Rajabov Tuxtasin Ibodovich. Effectiveness of the process of teaching Bukhara children folk songs in music class. https://www.eurchembull.com/issue-content/effectiveness-of-the-process-of-teaching-bukhara-children-folk-songs-in-music-class-7277ECB European Chemical Bulletin.ISSN 2063-5346 Eur. Chem. Bull. 2023, 12 (Special Issue 4), 16389-16397.
MUALLIF HAQIDA MA'LUMOT [ИНФОРМАЦИЯ ОБ АВТОРЕ] [AUTHORS INFO]
H Baltayev Umid Rustamovich, Urganch davlat universiteti o'qituvchisi, [Балтаев Умид Рустамович, преподаватель Ургенчского государственного университета], [Umid R. Baltayev, Teacher at Urgench State University]; manzil: O'zbekiston, Urganch sh., Hamid Olimjon ko'chasi, 14-uy [адреc: Узбекистан, Ургенч, ул. хамид Олимжон, 14], [address: Uzbekistan, 14, Khamid Alimjan st., Urgench city]; [email protected]
