CHARACTERISTICS OF APPLICATION OF STATUS IN THE WORK OF UZBEK COMPOSERS BETWEEN 1930-1990

CHARACTERISTICS OF APPLICATION OF STATUS IN THE WORK OF UZBEK COMPOSERS BETWEEN 1930-1990.

Annotation: This article is devoted to the study of the practical basis of Uzbek maqoms, the use of makom, national melodies in the compositional work of Uzbek music. In the works of Uzbek composers, the status is described, who has used a wide range of national music, and what aspects should be considered. Works by a number of Uzbek composers will also be considered.

Keywords: Uzbek music, maqom art, national music, Shashmaqom, compositional creativity, musicology, Uzbek opera, Uzbek musical dramas, music theory, music forms.

The roots of Uzbek music go back to ancient times. A number of its genres and forms have evolved over the centuries. Today, folk music and national classical music are two huge layers of Uzbek musical culture. We can also say that composing and composing is an important aspect of Uzbek music in line with the times, as an important feature in the expansion and enrichment of the Uzbek musical heritage.

Uzbek national classical music is distinguished by its wide range and rich heritage. In particular, issues related to the examples of maqom series occupy one of the leading positions in modern musicology. In this regard, along with the Bukhara Shashmaqomi, Fergana-Tashkent maqom roads, Khorezm maqom series, in our opinion, are of great interest among musicians. In particular, it is important to study the unique and diverse new forms of Khorezm maqoms, their structure, performance traditions, well-known representatives, musical notation.

Statuses, like other phenomena of society, lived in dependence on the social, artistic and aesthetic requirements and needs of the time. It has also undergone major changes in its development process. Shashmaqom, a classic example of Uzbek-Tajik music, emerged as an independent music genre in the first half of the 18th century. The maqoms are a series of musical complexes created in a certain order, a kind of sculpture of the past. In a broad sense, maqoms are an encyclopedia of folk music. Because in them, especially in Shashmaqom, there are a number of aspects based on the melodies of Uzbek folk music, rhythmic features, circle methods, the rules of connection of poetry and folk songs. Therefore, at present, serious attention is paid to the study of status issues, the identification and mastering of methods of status performance. Shashmaqom plays an important role in the musical heritage of the Uzbek people. The instrumental and singing tracks of this series of maqoms contain a number of aspects related to the rich tones of national music, rhythmic features, circle methods, the rules of adapting poetic texts to melodies. No matter which of the works of folk music you take, it is not difficult to know whether they are similar to this or that status, or its branch curtain, melody structure, circle method. Subsequent observations suggest that Shashmaqom forms the basis of the folk musical heritage.

 If we pay attention to the composition of Shashmaqom, it includes about 250 musical and singing tracks. If we take into account the hundreds of samples of folk melodies and songs created on their basis, the way of the trumpet, we can once again see how wide the position of maqoms in folk music is. The fact that Shashmaqom was always in touch with folk art and that it was constantly enriched and developed is also reflected in the historical sources of music. After all, today this direction is experiencing its period of perfection. The achievements of our time, the works created on various topics serve as evidence of our ideas and become the musical heritage of the Uzbek people.   

Over the past half century, Uzbek composition has developed in all directions. In particular, it has entered the world of music and has taken its place. When we look at the work of most of our composers, we see that nationalism and tradition are more important in them. The style and factors of musical creativity are many. Among them, the creation of modern works based on the national musical heritage, the interpretation of new means play a special role in the work of modern composers.

Modern Uzbek art in Uzbekistan is developing dialectically. Our composers are creating unique works on the basis of existing maqom series. Among the Uzbek composers whose creative maturity coincided with the post-war years were M. Ashrafiy, M. Burhanov, I. Akbarov, S. Boboev, M. Liviev, H. Rakhimov, D. Zokirov, D. Soatkulov, O. Khalimov, I. Hamroev, Sh. .Ramazanov, S.Yudakov, I.Akbarov, F.Nazarov, A.Muhammedov, M.Yusupov, S.Jalil, R.Hamroev, M.Tojiev, M.Mahmudov, A.Otajonov, M.Bafoev, N.Norxo'jaev The works of A.Mansurov, F.Olimov, A.Ergashev E.Solikhov confirm this.

On the occasion of the tenth anniversary of the Republic of Uzbekistan, a scholar of Uzbek folk music heritage, composer VA Uspensky was tasked to stage a new musical drama "Farhod and Shirin". There should have been a symphony orchestra instead of folk instruments. In carrying out this serious task, the composer achieved great success as a result of his excellent artistic taste and careful work.

In the history of musical theater art, the expression of the epics of the great thinker of Uzbek literature Alisher Navoi in a new spirit also plays an important role. In this field, the play "Farhod and Shirin" became the "first swallow". The play is based on Navoi's epic of the same name. The music of the play consists of pieces from maqoms and other samples of national classical music, performed by singers accompanied by an ensemble of folk instruments.

When writing the music of "Farhod and Shirin", V. Uspensky, taking into account the main features of the genre of musical drama, gave musical numbers mixed with dialogues. The feelings of love that Farhod and Shirin express to each other are expressed through maqom and classical songs. For example, Farhod arias “Dugoh-Husseini”, “Miskin”, “Bayot”, “Dugoh II”, “Chorgoh IV”, “Suvora”, “Chorgoh III”, and Shirin arias “Naylaram”, “Dugoh V”, “ Rajabi ”and“ Mogulcha ”based on maqom and songs. The duet of the two lovers is harmonized in "Chorgoh II" and Farhod's duet with his friend Shopur in "Fergana". Before writing the score for "Farhod and Shirin", he tried to bring to the attention of the audience such harmonious songs as "Bayot", "Husseini", "Naylaram", "Dugohi Husseini", "Gulyori Shakhnoz". These songs were performed by Uzbek singers in a special concert in the symphony orchestra magazine and received great applause.

In Glier's musical drama "Gulsara" melodies "Qari-Navo" and "Segoh" are the leading themes. Composers T.Sadikov and R.Glier, playwright Sh.Khurshid in collaboration with "Layli and Majnun" masterpieces: "Iraq", "Segoh", "Shakhnoz-Gulyor", "Ushshak", "Chorzarb", "Chorgoh", Uzbek, Tajik, Arabic folk songs such as “Bayot”, “Chapandozi gulyor”, “Qalandar II” and national music created by the composer left a deep mark on the hearts of the audience.

Composer Tokhtasin Jalilov's "Halima" used the status of "Desert Iraq" in the performance of the flute. This melody is heard as a "light theme" in the development of the play. During the procession, Nay joins Nemat's "Awakening" aria based on the status of "Iraq".

In the musical stage work "Nurkhan" by composers T.Jalilov and G.Sobitov, dedicated to historical figures, the aria "I burned in the fire of love" is irrigated with the intonations of the status of "Dugoh".

Musical drama "Muqimiy" by T. Jalilov and G. Mushel differs in composition I and IV versions of the play. These scenes are enriched with different music genres. Among them are "Chorgoh", "Bayot", "Iraq".

In M.Burkhanov's vocal-symphonic music "In the poem to Alisher Navoi" the theme "Navoi" perfectly reveals the status of "Sarakhbori Navo" and "Navo" the image of Navoi. It is based on the classical status in the lyrical suite "Dilbarim" by the composer B. Umidjanov. Designed for two soloists and a choir a capella, using such maqoms as "Chorgoh", "Segoh", "Sarakhbori Navo" in his work, he performed at the International Symposium "Maqom and Mugham in the works of modern composers" in 1978 in Samarkand. The dramatic plan of A. Kozlovsky's poem "Doston" appealed to the composer "Sarakhbori Navo" (from the hymn of Navo's status). S.Boboev's poem "Segoh" combines the melody "Segoh" and "Ufori Segoh". In M. Tojiev's poem "Poet's Love" the status of "Segoh", in the polyphonic work T. Kurbanov the status of "Buzruk" and "Sarakhbori Buzruk", in the Fifth Symphony dedicated to Hamza the status of "Segoh". In his "Fergana Quartet" D.Soatkulov used "Tanavor" in the first part of the main part and "Mogulchai Mungojat" in the final part. The first and second parts of V. Uspensky's work for tenor and orchestra used some melodies from the series "Dugohi Husseini".

In conclusion, it can be said that our national classical music, that is, maqom and classical melodies, was the basis for the creation of a new interpretation of the composer's work, on the other hand, it can be said that the new "life" is expressed in a unique way. A fresh look at classic traditional genres can serve as a big factor for all-round perfect compositions. For the new generation, the interpretation of our classical songs in foreign musical forms can be said to be the impetus for the development and progress of musical culture. Consequently, the works of the above-mentioned composers are a clear proof of our opinion.

List of used literature

1.    Chronicle "Development of music culture in Uzbekistan and Tashkent" T., 2009

2.    Fitrat A. Uzbek classical music and its history. T., 1993 y.

3.    Jabborov A. “Genres of musical drama and comedy in the works of Uzbek composers. T., 2000y.

4.    Problems of musical science of Uzbekistan T., 1973.

5.    Rajabov I. Status Fundamentals T., 1992.

6.    Solomonova T. History of Uzbek music. T., 1981.

7.    Veksler S. Glier and Uzbek music. T., 1981.