American Journal of Applied Science and Technology
18
https://theusajournals.com/index.php/ajast
VOLUME
Vol.05 Issue02 2025
PAGE NO.
18-21
10.37547/ajast/Volume05Issue03-03
Uzbek national ensembles: traditions and modernity
Rakhmatullayeva Zamira Sultanovna
Associate Professor of the "Musical Pedagogy" Department at the Uzbekistan State Conservatory, Honored Artist of Uzbekistan
Received:
03 January 2025;
Accepted:
05 February 2025;
Published:
07 March 2025
Abstract:
Uzbek national ensembles represent a unique synthesis of traditional musical heritage and contemporary
artistic trends. Rooted in the rich history of Uzbek musical culture, these ensembles emdiv the essence of folk
and classical music, incorporating various instruments, vocal styles, and performance techniques. This article
explores the historical evolution of Uzbek national ensembles, their role in preserving cultural identity, and the
impact of modernization on their artistic expression. It highlights the ways in which traditional musical elements
are adapted to contemporary performance settings, ensuring their relevance in the globalized world. Additionally,
the study examines the influence of technological advancements, new educational approaches, and international
collaborations on the development of Uzbek national ensembles. The research emphasizes the importance of
maintaining the authenticity of traditional music while embracing modern innovations to ensure its sustainability
for future generations.
Keywords:
International music festivals, Musical ensembles, Classical music, Performing arts, Singing and dance
ensembles, Dutar players' ensemble, Nay, chang, gijjak, tanbur, Uzbek State Philharmonic, Maqom musicians'
ensemble, National and contemporary ensembles, Television and radio company, Folk musical instruments,
Masters of art, Culture houses, Uzbek musical heritage.
Introduction:
The emergence of instrumental
ensembles is closely connected with the rich and
diverse traditions of Uzbek music. Uzbek musical
instruments, including the rubab, dutar, tanbur, saz,
nay, doira, gijjak, and other folk instruments, have a
long history. In fact, instrumental music plays a crucial
role in the ancient forms of Uzbek folk music, including
maqoms, dastgahs, and various modern songs.
Historical sources mention that culture and art in
Central Asia have been highly developed since ancient
times. This is clearly reflected in archaeological finds in
various regions of our country, where artistic
monuments provide evidence of this rich cultural
heritage. Some of these artifacts even depict early
examples of ensemble performances, proving that
group music-making existed as early as those times.
Musical instruments were traditionally made from
reeds, bamboo, wood, stone, bone, metal, leather, silk,
coconut shells, gourds, and other natural materials.
Historical records indicate that Uzbek folk instrumental
ensembles performed songs and dances during public
celebrations and cultural events. Cultural monuments,
visual arts, wall paintings, ceramic figurines, and
various miniatures from as early as the 7th century AD
provide evidence of the existence of two main types of
ensembles: wind and percussion instruments, as well
as plucked string instruments played with a plectrum.
Discussions on ensemble-related issues in music have
been presented in various ways in the treatises of
scholars and musicologists such as Farabi, Maraghi,
Kavkavi, Darvesh Ali Changi, and, in more recent years,
Fitrat. Historical sources provide specific information
about certain directions in the art of music based on
concrete evidence. Although the concepts of group
performance and ensemble are not explicitly
mentioned, the development of life and performance
traditions, as well as the practice of collective musical
execution, indicate that they were common practices.
For instance, in the 17th-century treatise of Darvesh Ali
Changi, it is stated: “Darvesh Ali learned the basics of
music from his father, Mirzo Ali Changi. Later, he
studied the principles of musicianship and ethical,
humanistic virtues from renowned musicians who
preceded him, such as Khujandi Ja‘far Qonuniy, Ali Dust
Nayi, Hasan Kavkavi, Hafiz Mahmud, and Hafiz Miraq
Ibn Majruhi.”
American Journal of Applied Science and Technology
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
The treatise by Changi also highlights that, during that
era, many artisans actively participated in musical
performance practices. Among them were tailor Boqi
Dirziy, physician Poyanda Tabib, judge Abdulkarim
Qozi, astrologer Boqi Shohidiy, Hafiz Qosim Bazzoz, and
potter Pirmuhammad Kulollar, who were highly skilled
in playing musical instruments. This suggests that
musicians gathering together may have been an early
form of ensemble performance.
By the 16th and 17th centuries, the cultural
development in the regions of Bukhara, Samarkand,
Khiva, and Kokand had significantly advanced. Musical
perspectives not only connected people more closely
but also played a crucial role in the flourishing of music.
Special musicians were assigned to perform for palace
nobles, and a designated leader was appointed to
oversee them. These court musicians were expected to
strictly adhere to musical laws and traditions while
remaining obedient to their appointed leader.
Historical information about musical instruments can
be found in works such as "The Great Book of Music"
(Kitab al-Musiqa al-Kabir) by Farabi (873-950), "The
Book of Healing" (Kitab al-Shifa) by Abu Ali Ibn Sina
(980-1037), "The Key to Knowledge" by Al-Khwarizmi
(10th century), "The Book of Nobility" (Sharafiya Kitabi)
by Sayfuddin Urmavi (1216-1294), and "A Treatise on
Music" by Jami (1414-1492).
Sayfuddin Urmavi, who was born in the city of Urmia
(present-day Azerbaijan), was a talented oud player,
performer, and renowned musician. His greatest
achievement was the development of a perfect system
of musical modes (maqam). In the 17th century, the
Bukharan musicologist Darvesh Ali provided detailed
descriptions of musical instruments such as the tanbur,
chang, qanun, rubab, qobiz, and gijjak in his treatise.
The legacy of great Eastern scholars holds immense
historical significance in the study of folk musical
instruments.
One of the most important works in this field is "Kitab
al-Musiqa al-Kabir" ("The Great Book of Music") by Abu
Nasr Muhammad al-Farabi. In this book, the medieval
scholar categorizes musical performance into two
types: reproduction of melodies using the human voice
(singing) and through musical instruments. As a skilled
performer, Farabi studied the role of musical
instruments in social life, stating: “There are special
musical instruments used in wars and battles, dances,
wedding celebrations, entertainment gatherings, and
love songs.”
These insights and citations further illustrate that
Uzbek musical heritage is deeply rooted in rich
traditions and ancient history.
In the lives of Central Asian peoples, traditional public
celebrations and festivals such as Navruz, Lola Sayli
(Tulip Festival), Harvest Festival, Melon Festival, Grape
Festival, and Cotton Festival have long been
accompanied by musical instruments such as karnay,
surnay, doira, and nog‘ora. These festivities also
featured
popular folk dances, including qosh o‘yini
(eyebrow dance), yelka o‘yini (shoulder dance), and
bosh o‘yini (head dance). One of the distinctive art
forms that emerged from these performances was
Qarsak O‘yin (Clapping Dance), a unique element of
traditiona
l performing arts. The Qarsak O‘yin involved
rhythmic clapping combined with synchronized
movements, and historical records indicate that it had
two main forms: Besh Qarsak (Five Claps) and Mayda
Qarsak (Small Claps). Originating from ancient hunting
and ritual dances, this tradition has evolved over
centuries, becoming a refined cultural expression. To
this day, Besh Qarsak and Mayda Qarsak dances are still
performed in the mountainous and desert regions of
Jizzakh (Forish), Surkhandarya (Sherobod), and
Samarkand provinces.
Just as social life has evolved, ensemble performance
arts have also progressed and diversified. Different
instrumental ensemble combinations have been used
in practice, such as:
•
Chang, ud, doyra
•
G‘ijjak, ud, doyra
•
Ud, chang, g‘ijj
ak, nay, doyra
Chamber ensembles composed of tanbur and doira
played an important role in performing Shashmaqom
pieces and vocal maqom melodies. Large instrumental
ensembles, featuring tanbur, dutor, rubob, gijjak (or
qobiz), chang, nay, and qo‘shnay (or b
ulaman), were
essential for grand ceremonies and festive events.
At the beginning of the 20th century, as Uzbekistan
underwent social transformations, perspectives on
music also changed positively. The restructuring of
communal labor in different regions of the republic
influenced the development of collective musical
performances.
During the 1920s and 1930s, instrumental ensembles
began to form as a result of the growth of musical
traditions, the merging of folk and academic music, and
the establishment of musical institutions. With the
founding of music and art schools, particularly in
Tashkent, Uzbek instrumental music began to develop
new forms and styles. This period saw the integration
of traditional instruments into large orchestras and the
creation of new musical genres.
Several factors influenced
the evolution of
instrumental ensembles. Initially, musical groups
primarily performed folk music, maqom, and
shashmaqom styles. However, over time, they
embraced contemporary musical forms, including
symphonic orchestras and pop music.
During the 1930s-1950s, Uzbek instrumental music was
enriched by international influences and the expansion
American Journal of Applied Science and Technology
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
of musical culture. Large orchestral ensembles
emerged, incorporating external musical elements,
especially from Russia and other regional traditions.
This interaction broadened the range of performance
techniques, introduced new instruments, and further
advanced the technical and artistic quality of Uzbek
instrumental ensembles.
After the 1950s, Uzbekistan began organizing
international music festivals and competitions, which
allowed Uzbek instrumental ensembles to gain global
recognition. During this period, Uzbek music and
instrumental ensembles spread worldwide, leading to
the formation of unique musical genres and styles.
Adapting to the times, instrumental ensembles were
gradually introduced in different regions, making it
possible for musical traditions to evolve. One of the key
ideas of this era was the establishment of leading
instrumental ensembles within musical communities.
The formation of such groups marked a new stage in
Uzbek musical heritage. Each ensemble incorporated
various musical instruments and was designed for mass
performances. As a result, these ensembles' playing
styles gained popularity among the public. The 1930s-
1950s witnessed a significant advancement in the field
of music, with notable and refined musicians emerging
from different regions.
One such figure was Ro‘zimatxon Isaboyev (1885–
1964), an Honored Art Worker of the Uzbek SSR, a
master musician, an exceptional folk instrumentalist,
and a dedicated mentor and organizer. His ensemble
included renowned musicians such as:
•
G‘ijjak players: Inomjon, Bahriddin, Sharif Xoji
•
Chang player: Mallavoy
•
Tanbur player: Ergashvoy
•
Surnay players: Toshmirza and others
During this time, significant efforts were made to
systematically develop musical education in regional
music schools.
In 1919, To‘xtasin Jalilov led the establishment of a folk
instrumental ensemble, which, by 1923, participated in
the All-Russian Agricultural Trade Exhibition in
Moscow, successfully showcasing Uzbek music.
Following this achievement, a 24-member amateur
music group was formed, further expanding musical
performance traditions.
In 1927, the Maqomchilar Ensemble was founded
under Uzbekistan Radio, bringing together virtuoso
musicians dedicated to classical music. The ensemble
included:
•
Nay players: Dadaali Soatqulov, Saydali
Kalonov
•
Qo‘shnay player: Hayrulla Ubaydullaev
•
Chang players: Nig‘matjon Do‘stmuhamedov,
Faxriddin Sodiqov
•
Dutor players: Abdusoat Vahobov, Orif
Qosimov
•
Tanbur players: Rixsi Rajabiy, Mahsudxo‘ja
Yusupov
•
G‘ijjak players: Imomjo
n Ikromov, Nabi
Hasanov
•
Doyra player: Dadaxo‘ja Sottiho‘jaev
Their primary goal was to preserve and perform
masterpieces of classical music and contribute to the
development of musical art.
From this period onward, a new era of ensemble
performance began, marking a transformation in Uzbek
folk performance traditions. Group performances
became more structured, and ensemble music gained
prominence, shaping the future of Uzbek instrumental
art.
By the mid-1930s, literature and arts festivals were
increasingly organized to strengthen interethnic
friendship. As a result, large-scale song and dance
ensembles began to emerge. These ensembles, often
consisting of 20-30 performers, were designed to fill
the stage and create a sense of grandeur in line with
the ideology of the time. To achieve a more powerful
sound, the number of musical instruments was
increased, producing a rich and majestic symphony of
sounds.
During this period, various song, dance, and dutar
ensembles, as well as vocal and orchestral groups, were
formed and actively contributed to the performance
traditions of Uzbek music. Over time, these ensembles
developed alongside other musical genres, expanding
their repertoires and gaining public admiration. Before
long, these ensembles secured their place among
Uzbekistan’s top musical groups, earning the
recognition of music enthusiasts.
A notable development in this period was the founding
of the Uzbek State Philharmonic in 1936, under the
leadership of Muhiddin Qori Yoqubov (director) and
To‘xtasin Jali
lov (musical director). Within the
philharmonic:
•
The "Ethnographic Unison Ensemble" was
established with 98 musicians.
•
A 30-member dutar ensemble of female
performers was also formed.
These ensembles played a crucial role in preserving and
promoting Uzbek musical traditions, blending national
and modern musical styles while showcasing the
talents of master musicians. Their long-standing artistic
contributions significantly enriched Uzbek musical
culture and ensured its broad promotion.
In 1939, several Uzbek musicians gained All-Union
recognition in Moscow:
•
Nay players: A. Ismoilov, A. Umrzoqov
•
Chang player: F. Sodiqov
They were awarded second-degree diplomas at the All-
Union Folk Instrumentalists' Competition.
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
Following this success, numerous professional music
ensembles were established under the Uzbekistan
Radio and Television, as well as in regional and district
cultural centers, schools, and educational institutions.
These ensembles, many of which continue to perform
today, include:
•
Yunus Rajabiy Maqomchilar Ensemble (Uzbek
Television and Radio Company, led by Abduhoshim
Ismoilov)
•
"Bahor" Folk Dance Ensemble (led by Ma’mura
Ergasheva)
•
"Shodlik"
Song
and
Dance
Ensemble
(Philharmonic, led by Qodir Mo‘minov)
•
"Tanovar" Ensemble (led by Yulduz Ismatova)
•
"Lazgi" Song and Dance Ensemble (led by
Raxmatjon Qurbonov)
•
"Bulbulcha" Children's Ensemble (led by
Shermat Yormatov)
•
"Parvoz" Ensemble (Aviasozlar Cultural Palace,
led by Sharip Janaydarov)
•
"Qaldirg‘och" Ensemble (Bog‘ot District,
Khorezm, led by Shermat Fayzullayev)
•
"Ayqulosh" Ensemble (Karakalpak State
Philharmonic)
•
"Zarafshon" Ensemble (Bukhara region)
These
creative
ensembles
have
significantly
contributed to the growth of Uzbek musical arts,
keeping folk traditions alive while innovating
performance styles to meet modern musical demands.
REFERENCES
Z.S. Raxmatullaeva “Go‘zallikka oshufta qalb” “Oriental
Art and Culture” ilmiy
-metodik elektron jurnali Volume
6 Issue 1 / February 2025. 404-408 b.
