LOCAL MUSICAL STYLES IN UZBEK MUSIC.

LOCAL MUSICAL STYLES IN UZBEK MUSIC.

Ashurov Ma’rufjon Abdumutalibovich

Annotation: In the article, the author describes the musical heritage of the Uzbek people, mainly 4 local styles: Surkhandarya-Kashkadarya music style, Bukhara-Samarkand music style, Khorezm music style, Fergana-Tashkent music style. since the historical past, musical instruments in the country have been loved, revered and performed by the local people.

Keywords: long history, instrument, music, musical style, tradition, Surkhandarya, Kashkadarya, Bukhara, Samarkand, Khorezm, Fergana, Tashkent.

VIETĒJIE MŪZIKAS STILI UZBEKA MŪZIKĀ.

Anotācija: Rakstā autors apraksta uzbeku tautas muzikālo mantojumu, galvenokārt 4 vietējos stilus: Surkhandarya-Kashkadarya mūzikas stils, Bukhara-Samarkand mūzikas stils, Horezm mūzikas stils, Fergana-Taškentas mūzikas stils. kopš vēsturiskās pagātnes mūzikas instrumentus valstī ir mīlējuši, cienījuši un izpildījuši vietējie iedzīvotāji.

Atslēgas vārdi: gara vēsture, instruments, mūzika, mūzikas stils, tradīcija, Surkhandarya, Kashkadarya, Bukhara, Samarkand, Horezm, Fergana, Taškenta.

STILI MUSICALI LOCALI NELLA MUSICA UZBEK.

Annotazione: l'autore informa sul patrimonio musicale del popolo uzbeko, principalmente 4 stili locali: stile musicale Surkhandarya-Kashkadarya, stile musicale Bukhara-Samarcanda, stile musicale Khorezm, stile musicale Fergana-Tashkent , ha fornito approfondimenti sulle parole che gli strumenti musicali sono stati amati, venerati ed eseguiti dalla popolazione locale nel paese sin dal lontano passato storico.

Parole chiave: lunga storia, strumento, musica, stile musicale, tradizione, Surkhandarya, Kashkadarya, Bukhara, Samarcanda, Khorezm, Fergana, Tashkent.

МЕСТНЫЕ МУЗЫКАЛЬНЫЕ СТИЛИ В УЗБЕКСКОЙ МУЗЫКЕ.

Аннотация: В статье автор описывает музыкальное наследие узбекского народа, в основном 4 локальных стиля: сурхандарьинско-кашкадарьинский музыкальный стиль, бухарско-самаркандский музыкальный стиль, хорезмский музыкальный стиль, фергано-ташкентский музыкальный стиль. С давних пор музыкальные инструменты в стране любили, почитали и играли в них местные жители.

Ключевые слова: многовековая история, инструмент, музыка, музыкальный стиль, традиция, Сурхандарья, Кашкадарья, Бухара, Самарканд, Хорезм, Фергана, Ташкент.

O’ZBEK MUSIQASIDA MAHALLIY MUSIQIY USLUBLAR.

Annotatsiya: Maqolada muallif O’zbek xalqining musiqiy merosida, asosan, 4 ta maxalliy uslub mavjud bo’lib: Surxondaryo-Qashqadaryo musiqa uslubi, Buxoro-Samarqand musiqa uslubi, Xorazm musiqa uslubi, Farg’ona-Toshkent musiqa uslubi haqida m’lumot berib, uzoq tarixiy o’tmishdan buyon o’lkada musiqa cholg’ularig mahalliy xalq tomonidan mehr qo’yilib, ardoqlanib, ijro etib kelinayotgan sozlar haqida tushunchalar berib o’tgan.

Kalit so’zlar: uzoq tarix, cholg’u, musiqa, musiqa uslubi, an’ana, Surxondaryo, Qashqadaryo,  Buxoro, Samarqand, Xorazm, Farg’ona, Toshkent.

Surkhandarya-Kashkadarya musical style. In the southern regions of Uzbekistan, Surkhandarya-Kashkadarya, in contrast to other regions of the country, in the past, lived mainly on livestock, and only a small part on agriculture. This is one of the characteristics of the folk music of these regions, which is characterized by songs about the labor of herdsmen, about the life of nomads. Epic performers, or poets, also played an important role in the musical life of these regions.

Surkhandarya-Kashkadarya traditional musical instruments. Musical instruments in the country have long been loved, revered and performed by the local people, such as drums, changbokuz, doyra, kobiz, shepherd nay or g. 'achir nay, sibiziq (sibizga).

The drum is a two-stringed percussion instrument. This instrument is one of the most popular words in the local music of Surkhandarya-Kashkadarya, and it is performed with pleasure by talented poets and shepherds.

The skewer is a special-tongued instrument made of iron or bone. The iron chandelier is usually circular in shape. A 7-9 cm long steel tongue is passed through it. To play the drum, you have to press it with your left hand on the teeth, and at the same time, move the tongue under the influence of the index finger of the right hand. Not only adults but also children love this instrument.

Bukhara and Samarkand musical style. Unlike Surkhandarya and Kashkadarya, Bukhara and Samarkand, the cultural centers of Central Asia, have almost different characteristics of Uzbek music. These features relate to the theme of heritage and the genres as well as the nature of musical life. An important difference between the local style of Bukhara and Samarkand is the division of musical heritage and performance into two types - professional art and folklore in the oral tradition. Along with the talented representatives of music folklore, professional artists, musicians and hafiz play an important role here, they are known as knowledgeable performers of maqom and other professional music genres. Performers of dance and song songs with a variety of meanings, which make up a certain series of small forms, have also received a lot of attention.

In these ancient cities, the richness of the variety of musical instruments, the diversity and character of the ceremonial songs, as well as the regular holding of music and poetry evenings with the participation of the best singers and musicians. . The urban lifestyle also allowed ensembles of singers, dancers and musicians to develop in a unique way.

Uzbek folk music in Bukhara and Samarkand regions has a lot in common with Tajik music in many respects, and the fate of the two fraternal peoples, Uzbeks and Tajiks, who have almost similar historical destinies, is of equal importance. is a musical heritage. In particular, Shashmaqom is a good example.

In the Bukhara style of music, a series of sayings, known as "Mavrigi", performed by men, are performed to the accompaniment of a doyra and with the participation of a dancer-player. "Mavrigi" is mostly sung by men, and the singers sing and play the drums at the same time. Mavrigi's sayings reflect the tradition of bilingualism, with the songs in the series being sung in Uzbek and Tajik.

"Mavrigi" consists of two or more parts, which are performed one after another. The first part serves as an "introduction" in a more relaxed spirit. As you move on to the next part, the playful rhythms expand and the playfulness intensifies. For this reason, dance techniques play a key role in such series.

In the Samarkand style of music, songs and dances known as "applause" are very popular. The applause is performed by many people in various performances and circles. At this time, those present are sitting in a circle, accompanied by solo singing and dancing. Therefore, the genre of applause is in the form of band-naqarat, the bands are sung by the yak-kahon (narrator), and those sitting in the circle sing the naqara.

There are several types of clapping. There are several types of applause, such as kars, single kars, double kars, three kars, and five khars.

The local style of Khorezm region is distinguished, first of all, by its musical color. He influences the intonation and interpretation of local songs. There is no doubt that the Khorezmian style is somewhat close to Turkmen and Azerbaijani music.

The distinctive local features of Khorezmian folk music include the performance of epics. If in all regions of Uzbekistan the music of epics is usually of a recitative-declamatory nature, in Khorezm they differ with bright expressive songs and, as in other regions of Uzbekistan, not with a drum, but with a narrow, dutar, gijjak, accompanied by doyra.

Khorezm musical instruments also have their own characteristics. For example, as mentioned above, the harmonium is found only in the Khorezm region of the republic. The hormone, which has been widely used in Khorezm since the second half of the 19th century, has become one of the distinctive features of the local style of the region. The local differences of some musical instruments are reflected in their structure and timbre-acoustic features. For example, the Khorezm dutar skull differs from other local zones of Uzbekistan, in particular, from the folklore of Fergana music, due to its relatively small size, thin and short stalk and its acoustic-timbre features. It is simple, compact, but attractive, and a variety of songs and melodies play an important role here. Women's songs and chants are especially popular.

The art of khalfas in the style of Khorezm music is also noteworthy. Khorezmian khalfa art is sung in two forms.

1. Solo performance.

2. Group performance as an ensemble.

1. Solo khalfas usually sing without instruments, from epic songs to toy-hasham ("Yor-yor", "Kelin salom", etc.) (teachers Roziya Matniyoz qizi, Poshsho Saidmamat qizi, Sao-dat Khudoibergan's daughter and others).

2. The ensemble khalfas sing lapar, yalla, their own songs and epics to the accompaniment of doira, harmonica (master performers Ojiza, Nazira Sabirova, Onajon Safarova, Bibi Shoira and others)

In the Fergana-Tashkent style of music, lapar, yalla, ashula, song, national ceremonial songs and big songs are widely used.

In the women's performance, the ceremonial songs "Yor-yor", "Kelin salom", lapar, yalla aytims were widely sung in the ensemble doyra, dutar, instrumental ensemble (one of the master performers was Rakhima MaZoxidova).

Children's folklore also plays a key role in the Fergana-Tashkent musical style. Examples include "Boychechak", "Rain is falling", "The stork has come", "The sun has risen", "Chuchvara is boiling".

The Fergana-Tashkent big song is a large-scale song, the melodies of which are intended for the performance of wide-ranging hafiz. A great song is usually sung by a singer-songwriter or by 2-4 fellow singers. No instrumental music is used. Great songs use examples of poetry of classical poets such as Lutfi, Sakkoki, Navoi, Mukimi, Furkat on philosophical, pedagogical and other topics.

Large songs have advanced melodies between two and a half octaves, sung on a free rhythm-scale basis. The reason why these songs are called "Patnusaki ashula" or "likobi ashula" is that the singers-hafiz hold a patnis lyak (talinka) in their hands during the performance.

Hafizs such as Boltaboy Rajabov, Hamrokul kori, Muhammad bobo Saggorov, Akbar kori Khaydarov, Erka kori Harimov, Jorahon Sultanov, Mamurjon Ozokov, Berkinboy Fayziev were masterful performers of great songs. Great songs sung by these artists, such as "Kop erdi", "Bir kelsun", "Ey dilbari jononim", "Adash ganman", "Dostlar", "Yavvoyi chorgox", "Bu gulshan soz etgali keldik". well known among.

It should be noted that in recent years, the practice of performing large songs accompanied by instruments has also begun to be used. In this regard, for example. Examples of such great songs are "Mehnat akhli", "Ey dilbari jononim", "Uzbekistan". At the same time, there was a tradition of performing large songs on a separate instrument, such as a flute. In this regard, the services of our skilled pipers, such as Ismail, Abdukodir and Saidjon Kalonov, are great.

The big song is sung mainly in the Fergana Valley and partly in Tashkent. The national features of Uzbek folk music are vividly expressed in all local styles, which are the result of the historical conditions of people's life.

These signs, as noted above, arose as a result of the intermingling of various local styles into the national culture of the Uzbek people, in the process of formation of the Uzbek nation, which took place in the following period.

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

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

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