DOMBIRA AND FRIEND PERFORMANCE.

DOMBIRA AND FRIEND PERFORMANCE.

Ashurov Ma’rufjon Abdumutalibovich

Annotation: In this article, the author provides information about the drum, one of the most popular musical instruments in Kashkadarya, Surkhandarya, and some districts of Samarkand for many centuries. He gave detailed examples of his connection with pastoral melodies in many cases, and the development of the art of drumming in direct connection with the performance of epics.

Keywords: drum, study, memorization, click, melody, work, epic.

DOMBIRA UN DRAUGU DARBĪBA.

Anotācija: Šajā rakstā autors sniedz informāciju par bungām, kas ir viens no populārākajiem mūzikas instrumentiem Kaškadarja, Surkhandarja un dažos Samarkandas rajonos jau daudzus gadsimtus. Viņš daudzos gadījumos sniedza detalizētus piemērus par savu saistību ar pastorālajām melodijām un bungu mākslas attīstību ciešā saistībā ar eposu izpildījumu.

Atslēgas vārdi: bungas, pētījums, iegaumēšana, klikšķis, melodija, darbs, epika.

DO’MBIRA VA DOSTON IJROCHILIGI.

Annotatsiya: Ushbu maqolada muallif Qashqadaryo, Surxondaryo, Samarqandning ayrim tumanlarida ko’p asrlardan buyon keng tarqalgan cholg’u asboblaridan biri do’mbira asbobi haqida ma’lumotlar berib, do’mbirachilar hayoti azaldan chorvador xalqlar hayoti bilan boglanganligi sababli ularning ijrochilik dasturlari ko’pchilik xollarda yaylov kuylari bilan aloqadorligi, do’mbirachilik san’ati bevosita doston ijrochiligi bilan chambarchas aloqada rivojlanganligi haqida to’liq misollar bilan ma’lumot bergan.

Kalit so’zlar: Do’mbira, o’rganish, yodlash, chertish, kuy, asar, doston.

The drum is one of the most popular instruments in Kashkadarya, Surkhandarya and some districts of Samarkand for many centuries. The generation of drummers came from Shurchi, Sherabad, Boysun and Dehkanabad districts. These districts were inhabited by poets, amateurs, and musicians of ancient instruments such as the thirsty.

To become a good drummer, you had to learn, memorize, play dozens of melodies, be a student of a master drummer for 2-3 years, and especially learn to accompany epic poets.

Because the lives of drummers have long been associated with the lives of pastoral peoples, their performance programs are often associated with pastoral melodies. For this reason, their compositions include: "Shepherd", "Drum melody", "Kungiroti", "Race melody", "Search for music", "Collect music", "Move songs" »,« Sarson kuyi », etc.

The art of drumming develops in close connection with the performance of the epic. Because the performers of the epic sing in the above-mentioned districts accompanied by drums.

Among the drummers who have lived and performed for the last 40-50 years are a number of musicians such as Doniyor Jurakulov, Parda Avazov, Toji Mengliev, Norkobil Shukurov. Among the drummers, Daniyar Jurakulov is known for his high performance skills.

He was born in 1910 in the family of a drummer and a shepherd in the village of Ok Kapchagay, Shurchi district, Surkhandarya region.

He learned to play the drums first from his father, then from his fellow shepherd children, and when he was herding cattle in the pasture. During his lifetime, the famous poet Mardonkul Avliyokulov, his uncle, the poet Shernazar Beknazar, Jorabobo from the village of Khatak, the centurion of Chori and others played the drums. Their performance was very popular.

Jorakul will be the captain of the drummer, Khaliyar, the teacher who opened the way to the true art of drumming and taught its secrets. Haliyor knew many epics by heart, recited them in a variety of melodies, and with his captivating melodies he inspired fans and all amateurs who dreamed of becoming drummers. "I had it in my hand," recalls Jorakul Doniyorov, "because I didn't have a good drum at that time, so I followed Master Khaliyar, sang his exciting songs carefully, and put them in my heart." Later, when I got a good drum, I started playing those tunes. ” The sound of the drum is very low, the timbre is soft and pleasant, so the riders sit around the drummers, closer to the ground. The drummer first plays a long introductory part (income) to cheer up the audience. For example, "Shepherd I".

He earns money for fourteen beats before starting a song of the same name. This part of the income is repeated in the middle and at the end of the melody. This piece of music plays the role of a final film.

The melodies played on the drums are unique. Because those melodies have different meanings. The meadows, the mountains, the valleys, the vast fields around every tune are flying, mentally distressed. exciting. caresses, delights. The drummer, on the other hand, seems to observe every melody that flies across the universe.

Another drummer, Toji Mengliev (born in 1910), like Doniyor Jurakulov, played the drums all his life. He was born in Garmi Kopgan (Guard Hill) and learned to play the drums from his father. His father was one of the greatest drummers of his time. "I used to play with my father when he was 12," says Toji Mengliev. He adjusts the drum first, and then I learn to adjust it myself. ” At the same time, the musician plays other drums from the local drummers. He first studied the song "Gorogly's going to Chambil" from the epic "Gorogly". Taji Mengliev mainly accompanies the drum to the parts of the epics "Gorogly" and "Alpomish".

In addition to "Shepherd", "Drum Tune", "Bell", "Good Song", this drummer's program also includes games that are accompanied by girls' games or similar games. There are dozens of melodies that can be played. One of them is called "Protection word" (girls' game). This song is skillfully performed by Norkobil Shukurov (from Shurchi district). The melody is in line with the fun activities of the girls in the circle. The melody differs from the traditional "Bakhshi kuy" or "Shepherd" melodies by the modernity of the melody.

Typically, this type of melody is created by drummers at a girl's wedding to resemble a song called "Ahvo." The poems of Akhvo are as follows:

The Black Sea is a big country,

If it does not rotate, keep it small,

What my sister wore,

Cooperative flower chit.

In the middle of Inasoy,

Four capigs of fat.

The girl is marked inside

Here is the girl.

Munnan narmon murshadi,

Clouds surround the air,

Someone in the house speaks,

Ena looks like a girl.

I climbed the mountain,

I bought walnuts KOGOTI,

TWO rings, a mirror,

A gift for a mother.

The song "Akhvo" or "Enaqiz" is sung by girls in a calm and lyrical way, accompanied by a drum, with their hands on their throats.

The songs sung under the name "Kelinoyi" are very popular in these oases, although they are sung in different poems, but the melody is similar. The word kelinoyi is pronounced differently in different villages: in Kara Kungrad it is called Enaqiz, in Qorliq it is called Izzatoy, in Homkant it is called Ulutoy.

"According to the old men," said Muhammad Yusuf Otaganov, "in the past a rich man's brother was married, and his wife was very beautiful." The bride was abducted by a farmer from the village of Boz in Aktash. Upon hearing this, her husband searches, inquires, and brings her back home. But his daughter-in-law runs away again with this farmer. ”

An important part of the Surkhandarya-Kashkadarya musical style is the epic tradition. The epic is a literary and musical work. It consists of prose and poetry, which share a common content. Such epics as "Alpomish", "Yodgor", "Avazkhan" look like this. The performers of the epics are called poets, centurions, and bakhshis. Bakhshi performers combine the wordsmith, the song, the singer, and the drum. Consequently, the bakhshis masterfully narrate and perform the prose parts of the epics, using the drum as a conductor.

There are two major centers of epic poetry in the Surkhandarya-Kashkadarya style of music. These are Shahrizabz and Sherabad epic schools.

Poets such as Abdulla Nurali ogli and Islam Nazar ogli are the great representatives of Shahrisabz school of epic poetry, SHernazar Beknazar oglu, Mardonqul Avliyakul oglu, Umar Safar oglu , Normurad Bakhshis are well-known representatives of the Sherabad School of Epic.

The season of reciting the epics is mainly in late autumn, when the villagers are engaged in farming, beginning after the end of the harvest and lasting until early spring. Usually, bakhshis are invited to one of the village houses to hold epic evenings organized by the locals. Neighbors and neighbors gathered in this apartment to listen to the bakhshi's epic performance. Such nights lasted for several days. Bakhshis were also invited to hold family celebrations, weddings and other ceremonies.

According to the rules of singing epics, the termas are sung first. The terma is a saying sung by a bakhshi before the performance of any epic, in which the bakhshi briefly describes the epics in his bisot and thus tells the audience, "Which epic should I tell?" appeals. The choice of the audience is also due to the will of the listener, who begins to sing a poem from his repertoire. Bukhara-Samarkand epic schools of music are mainly located in the districts of the region, they are called "Bulungur epic school", "Kurgan epic school", "Narpay epic school". Bulungur and Kurgan epic schools are the most famous of them. The heroic epics "Alpomish", "Yodgor", "Rustamkhan", "Birth of Gorogly" play a leading role in Bulungur school of epic poetry. The drum is added as a chorus. Amin Bakhshi, Tovbozar Poet, Kurbanbek Poet, Yuldoshbulbul, Yuldosh Poet, Kuldosh Bakhshi are the representatives of this school in the past (XIX representatives. Fozil Yuldosh oglu is one of the last great representatives of this school).

Although the epic of Alpomish was performed in the Kurgan school of epic poetry, it was more about romantic epics (including "Gumor pari", "Kunduz and Yulduz", "Oysuluv", "Kyntugmish, etc."). 'tibor is given. Yodgor, Lafas, Mulla-Tosh are the great representatives of the Kurgan school of epic poetry. Bakhshis like Jumanbulbul should be mentioned. Jumanbulbul's son (1868-1937) and Polkan l (1874-1941) were the last major representatives of this school.

The Khorezm school of epic poetry has its own traditions and differs from other local schools of epic poetry (for example, Surkhandarya-Kashkadarya epic school). These differences include:

a) Khorezm epics are sung not in a "muffled voice" but in an "open, voice" style.

b) The word drum is often used as a harpist in local epic schools. Dutar is used in Khorezm epics. An ensemble of performers will also take part in the narration. In this case, the teacher is accompanied by a dutar, a tar or a rubab, and the rest are accompanied by the words gijjak, bulaman, and sometimes doyra.

c) The repertoire of Khorezm epics consists mainly of such epics as "Oshiq Gharib va ​​Shohsanam", "Gorogli", "Kuntugmish", "Bozirgon", "Oshiq Aydin". However, in the Khorezm epic there is no example of the heroic epic "Alpomish". Among the great representatives of Khorezm epics are Ahmad Bakhshi, Bola Bakhshi, Ruzimbek Murodov, Kalandar Bakhshi.

Within the framework of Khorezmian musical style, there is a tradition of performing epics in harmony (sozda), in which epics are told not in a single form, but in fragments and terms derived from it. In Khorezm, such performers are called sozchi, i.e. Qurban sozchi, Kodir sozchi.

List of used literature:

1.    Aloviya. M. Uzbek folk ceremonial songs. T. 1974 y.

2.    Essays on Uzbek folklore. 1 tom. T. 1988 y.

3.    Hayitova O. Traditions of Khorezm singing. T. 2006 y

4.    Ibragimov O. Uzbek folk music. Part I. T. 1994 y.

5.    Team Boychechak. Children's folklore. Labor songs.

6.    Uzbek folk music. Volume III. T.1954 y.

7.    Yuldasheva. Q. Folk customs and traditions. T. 2003

8.    Yunusov R. Uzbek folk music. (scientific-methodical recommendations) Part II. T. 2000 y.

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