American Journal of Applied Science and Technology
8
https://theusajournals.com/index.php/ajast
VOLUME
Vol.05 Issue01 2025
PAGE NO.
8-9
10.37547/ajast/Volume05Issue02-03
The historical development of percussion instruments in
central Asia
Turekhanov Farhod
Teacher of the Musical Pedagogy, Uzbekistan State Conservatory, Uzbekistan
Received:
07 December 2024;
Accepted:
09 January 2025;
Published:
11 February 2025
Abstract:
This article analyzes the history, development, and cultural significance of percussion instruments in
Central Asia, with a particular focus on the doyra. It highlights the long history of the doyra based on ancient
depictions and archaeological findings. Additionally, the article provides information about doyra performance
techniques and the various names by which it is known across different cultures. The important role of the doyra
in musical traditions, especially in the maqom art, is also explored. Special performance styles developed in
regions such as Khorezm, Bukhara, and Fergana are examined. The article further demonstrates how the doyra
has been historically significant not only in musical performances but also in religious and ceremonial events, as
evidenced by historical documents and visual art representations.
Keywords:
Central Asia, percussion instruments, doyra, music, maqom, history, culture.
Introduction:
The musical culture of Central Asian
peoples dates back to ancient times. One of the
distinctive features of the musical traditions of Central
Asia and some Eastern nations is the development of
both widespread folk songs and instrumental melodies
alongside the oral, masterful style of classical music.
Various scholars and philosophers, including the
famous thinker and polymath Abu Nasr al-Farabi, have
addressed issues related to the science and practice of
music. His monumental work, Kitab al-Musiqi al-Kabir
(The Great Book of Music), became a foundational text
for later generations of scholars, influencing figures
such as Abu Ali Ibn Sina, Abdurahman Jami, Najmuddin
Kavkabi, Zayn al-Abidin Husayni, Safi al-Din al-Urmawi,
and Darvish Ali Changgi.
Historical records indicate that percussion instruments
have long played a significant role in the musical
traditions of Central Asian peoples, particularly the
Uzbek nation. Instruments such as the oud, tanbur,
nay, chang, rubab, qobiz, ghijjak, setar, surnay,
bolaman, nogora, and doyra have been widely used
over the centuries.
The doyra, in particular, holds an irreplaceable role in
maintaining rhythmic structures in music. Due to its
ease of use and expressive capabilities, it has become a
widely popular instrument among the people.
Archaeological excavations at Saylamtash, dating back
to the second millennium BCE, have uncovered
depictions of doyra-like instruments being played,
indicating the ancient origins of this instrument. While
modern doyra designs have undergone some
modifications compared to historical depictions, their
essential structure remains consistent. Ancient doyra
instruments often featured metal plates embedded
into their wooden frame, while modern versions
include small metal rings attached to the inner frame
instead. The stretched membrane has also expanded in
size over time. Illustrations from the 15th and 16th
centuries depict doyra instruments with decorative
perforations and jingles.
One of the oldest depictions of the doyra in Central Asia
can be found on the walls of the ancient Nisa fortress,
showing that the instrument’s early design closely
resembles its modern form.
The doyra is classified as a percussion instrument and
is known by various names across different cultures: it
is called doyra, chirmanda, childirma, and dap in Uzbek
and Tajik musical traditions; dapp in Armenian; daff in
Persian and Egyptian music; def, doyre, and ghaval in
Azerbaijani traditions; and dabu in other parts of the
East. The variations in the instrume
nt’s size,
construction, playing style, and sound projection
American Journal of Applied Science and Technology
9
https://theusajournals.com/index.php/ajast
American Journal of Applied Science and Technology (ISSN: 2771-2745)
contribute to its diverse forms across regions.
Archaeological findings suggest that, before the Islamic
era, doyra was primarily played by women, who would
accompany their own singing and dancing. This
tradition has continued to evolve over centuries. Even
today, the doyra remains an essential instrument in
female musical performances in Samarkand, Fergana,
Bukhara, Namangan, and other regions of Uzbekistan.
The doyra has also long been integral to vocal and
instrumental ensembles. It plays a crucial role in
performing maqom
—
one of the masterpieces of Uzbek
classical music. It is almost impossible to imagine
maqom performances without the accompaniment of
a doyra.
Over time, regional variations in doyra performance
have developed across Central Asia, giving rise to
distinct local styles. For example, the Khorezm doyra
school differs significantly from other Uzbek styles in
terms of technique and rhythm. In Khorezm, both large
and small versions of the doyra are used primarily for
accompaniment.
Historical records indicate that doyra was frequently
used alongside other percussion instruments such as
bells and cymbals in religious and ritual ceremonies
conducted by priests. The depictions on the walls of the
Nisa fortress suggest that doyra was commonly played
during sacred dances, either by the dancers themselves
or by specialized doyra players.
In the rich tradition of Uzbek classical music, maqom is
structured upon a fundamental modal system (lad),
while rhythm (usul) forms the second essential
element. These two aspects are inseparable, much like
two sides of the same coin. As Abdurauf Fitrat stated,
"Their function is the same in maqom, making it
difficult to imagine one without the other." For this
reason, doyra has always been an indispensable part of
maqom performances, traditionally played by highly
skilled
musicians
alongside
vocalists
and
instrumentalists.
REFERENCES
Bagley, R. (2004). Percussion Instruments in Early Asian
Civilizations: An Archaeological Perspective. Cambridge
University Press.
Beliaev, V. M. (1960). Central Asian Music: History and
Development. Moscow: Nauka.
Blum, S. (2002). Musical Cultures in Central Asia:
Tradition
and
Change.
Smithsonian
Folkways
Recordings.
Djumaev, A. (1993). The Role of Percussion in Uzbek
and Tajik Music Traditions. UNESCO Journal of Music.
During, J. (1998). The Musical Instruments of Central
Asia. Copenhagen: Curzon Press.
