Volume 03 Issue 02-2023
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(ISSN
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VOLUME
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ABSTRACT
The article is devoted to the research problem of the Maqom system, along with its creative and performing traditions.
The paper reveals the significance of the “Nazira” tradition in Uzbek music and further illustrates features of this
tradition known from the history of oriental literature and Uzbek traditional music.
KEYWORDS
Art, aesthetics, tradition, culture, music, nazira, maqom, canon, improvisation, method, musical treatise.
INTRODUCTION
Contemporary
musicology
devotes
particular
attention to the issues of studying the theoretical
foundations of the maqom system, inclusive of the
centuries-old creative and performing traditions that
have developed in the medieval Eastern Muslim world.
There had been invariable artistic canons in the
classical traditions that were created by our talented
ancestors that survived up to our times owing to the
activities of their adherents. Today, it is becoming
increasingly important to study the historical roots of
these traditions. Firstly, there is a need to reveal the
essence of classical musical culture, which brought into
being maqom cycles. Secondly, to identify the place of
maqom in the creation of specific music patterns of
maqom style.
Research Article
“NAZIRA” TRADITIONS IN UZBEK MUSIC
Submission Date:
February 01, 2023,
Accepted Date:
February 05, 2023,
Published Date:
February 10, 2023
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume03Issue02-01
Chinora Ergasheva
Phd, Associate Professor, Head Of Department Of “Uzbek Music History And Theory”, State Conservatory Of
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 02-2023
2
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
01-09
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In the research works of the prominent maqom
scholars, the issues of the formal structure, internal
canons, and features of the performing traditions of
the Uzbek and Tajik peoples’ classical musical heritage,
such as Shashmaqom, Khorezmmaqom, and Fergana-
Tashkent maqoms, have been covered to a greater or
lesser extent. In this regard, it is worth noting that the
study of the creative traditions of Nazira has acquired
great importance, which initially appeared and
established themselves in the art of bastakors
(traditional composers), and today occupy an essential
place in the manifestation of the innate canons of the
maqom art in individual melodies (kui) and tunes
(aytym).
The research papers of I.Radjabov, T.Vizgo,
T.Gafurbekov, A.Nazarov, O.Ibragimov, R.Yunusov,
O.Matyokubov, and S.Begmatov contain valuable
ideas about Nazira traditions in Uzbek musicology. The
most significant scientific observations on this subject
belong to the venerable musicologist I. Radjabov. In
particular, he was the first to prove, by explicit
examples, the vital role of the Nazira tradition in the
1
Razhabov I. Makomlar (Special editor for publication O.
Ibrohimov).
–
Tashkent: Sanat, 2006. Pages 244, 245, 252.
2
Vizgo T. To the question of the study of makoms. // History
and modernity. Problems of the musical culture of the peoples
of Uzbekistan, Turkmenistan and Tajikistan.
–
M.: Music, 1972.
–
P. 396.
3
Gafurbekov T. Folklore origins of Uzbek professional musical
creativity.
–
Tashkent: O’qituvchu, 1984. –
P. 8.
creation of the second group of the Shashmaqom
shuba
1
.
In her articles T.Vizgo put forward the idea that
“Nazira” as aesthetics, was considered not only as
musical composition (bastakorizm), but also as the
tradition of the medieval musicology
2
. Citing the rules
of creation of Shashmaqom Savts as an example,
T.Gafurbekov evaluates the phenomenon of “Nazira”
as a creative method. He emphasizes that “Nazira”
initially had manifested itself in literature, and only
then did its facets find their way in music
3
. Scrutinizing
the issue of classical rhyme in his scientific monograph
“Farobi and Ibn Sino on the rhythm of the music”
A.Nazarov deduced that “the principle of “Nazira” was
a key factor in the rhythmic development of musical
pieces”
4
. O.A.Ibragimov also recognizes the reflection
of “Nazira” traditions in the professional music of the
East and asserts the existence of the “Nazira” principle
in the works created based on certain melodies-
formulas that have long been known in musical
practice.
5
R.Yunusov, referring to the work of
bastakor F.Sadykov, notes that the latter left an
4
Nazarov
А
. Pharoah and Ibn Sina on the rhythm of music.
–
Tashkent: G. Ghulam Publishing House of Literature and Art,
1995.
–
15 p.
5
Ibragimov O. Ferghana-Tashket makoms.
–
Tashkent: MEDIA
LAND, 2006.
–
P. 17.
Volume 03 Issue 02-2023
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Oscar Publishing Services
Servi
extremely prolific heritage generated “from the
inexhaustible resources of our musical heritage, in
particular, koshuk, ashula, katta ashula, yalla, lapar,
kuy, maqom shuba, tarona.”
6
In his monograph
“Maqomot”
7
O.Matyakubov gives a general concept
of the manifestation of “Nazira” phenomenon in
oriental music. S.Begmatov's article “Ushshok” also
contains valuable information on this very subject. The
author, in the course of comparative analysis, states
that the musical pieces in the interpretation of the
“Nazira” style by famous hafiz (traditional singers)
Sadyrkhan Hafiz and Mulla Tuychi Tashmukhamedov
have been widespread among the peoples of the East
8
.
The “Nazira” tradition has been one of the
cornerstones of Eastern Muslim art and the entire
culture. To better understand this issue, it is
worthwhile to look at the history of the origin of the
“Nazira” tradition. It is known from h
istory that during
the time of the Prophet Muhammad (first half of the
7th century), his associates measured their actions
6
Yunusov R.Y. Fakhriddin Sadiqkov.
–
Tashkent: UNESKO,
2005.
–
Р
. 101-102.
7
Matyokubov O. Maqomot.
–
Tashkent: Music, 2004.
–
400 p.
8
Begmatov S. Ushshak (interpreted by Sodirkhan Hafiz and
Yunus Rajabi). // Rajabikhanlik. Proceedings of the scientific-
practical conference.
–
Tashkent, 1994.
–
Р
. 32-39.
9
“
Aesthetics of Identity
” –
Plakhov Y.P. Artistic canon in the
system of professional oriental monody.
–
Tashkent: Fan,
1988.
–
р
. 12, 15.
10
Plakhov Y.P. Artistic canon in the system of professional
oriental monody.
–
Tashkent: Fan, 1988.
–
р
.12;
with the way of life of the Messenger of Allah
(P.B.U.H), and they sought to follow and imitate him in
all their deeds. This state of affairs was important in the
formation of stable pillars of the Muslim culture of the
East, and accordingly, on this basis, a certain aesthetic
system arose in the field of art. This system is known in
science as the “aesthetics of similarity (Nazir)”,
9
which
involves the creation of works by normative artistic
rules established in the Middle Ages on which they
rested.
10
In the traditional art of the Eastern peoples (applied
and fine arts, architecture etc.) “Nazira”, in the
broadest sense, has been a creative analogy in the
form of a response to the art works of predecessors;
however, these works bore new artistic forms.
11
Researchers recognize that in the process of studying
oriental art of the ancient and medieval periods, stable
artistic conditions such as genre, symbolism, the
general style of the period have been encountered.
Shakhnazarova N. Music of the East and Music of the West.
–
M.: Contemporary composer, 1983.
–
p. 87; Vizgo T. To the
question of the study of makoms. // History and modernity.
Problems of the musical culture of the peoples of Uzbekistan,
Turkmenistan and Tajikistan.
–
M.: Music, 1972.
–
Р
. 396.
11
Bertels E.S. Navoi and Eastern literature. // World literature.
–
Tashkent, 2006.
–
No 2.
–
Р
. 137.
Dictionary of Literary Terms.
–
Tashkent: Teacher, 1967.
–
Р
.
128.
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Publisher:
Oscar Publishing Services
Servi
Such phenomena have been explained by the concept
of “canon” (“artistic canon”) in European culture. The
purpose of the artistic canon is the creation of
aesthetic ideal
12
. Such aesthetic ideal, embodied in the
patterns of particular models, served as a kind of
model for future works.
Researchers describe “Nazira” in art as pair ratio –
“canon
-
improvisation” (“constant
-
unrestrained”), in
other words “invariant
-variant
13
”. At the same time
,
the main requirement for almost all art creators
working in the “Nazira” style was to create new
content while adhering to primary principles (canon,
model, invariant).Here it seems appropriate to cite the
following opinion of A.F.Losev: “The artistic ca
non
does not determine the style of the work created on its
foundation, but serves as the basis for its
modification
14
”. Such a complex task finds its solution
in other, unique ways, by taking into account the
nature of each area of artistic creativity.
12
Problem softhe Canon inthe Ancientand Medieval Art of Asia
and Africa.
–
M.: Nauka, 1973.
–
Р
age. 3, 5-6.
13
Azimova A. Traditional musical language of Uzbek,
karakalpak and uygurlanuages.
–
Tashkent, 2008.
–
Р
age 118-
119; Plakhov Y.P. Artistic canon in the system of professional
oriental monody.
–
Tashkent: Fan, 1988.
–
Р
. 27-33; Sultanova
R.R. The rhythm of the vocal parts of Shashmakom.
–
Tashkent:
YANI, 1998.
–
Р
. 67; Jani-zade T.M. Personality and canon in
Azerbaijani mughams. Music ofthepeoplesof Asia and Africa.
–
M.: Contemporary composer, 1987. Issue 5. - 101-103
;
Ulmasov F. On some modern aspects of the theory of Tajik
In the oriental countries' literature, the tradition of
hamsa has been recognized as a classical example of
“Nazira” aesthetics.
15
It is well known that hamsa
(Arabic “hams”–“five”) is a collection of five epic
stories. The founder of the cycle was the great
Azerbaijani poet and thinker Nizami Ganjavi (1141-1209),
who added a new ideologically artistic trend to the
development of epics creation (dastan). The poems
were arranged in the following sequence: “Treasury of
Secrets” (beginning 1170), “Khosrov and Shirin” (1181),
“Leyli and Majnun” (1188), “Seven Beauties” (1196),
“Iskandar
-
name” (1199
-1200). Although the author
himself did not pursue the goal of creating a single
cycle, however, the five poems he created in different
years and combined into one compilation became an
unprecedented phenomenon in world literature and
became, in every respect, a great pattern to be
followed by the poets of the Muslim East. For this
reason, in subsequent centuries, the creation of works
based on Nizami's “hamsa” became a cla
ssical literary
tradition. Many creators have embarked on the path of
creating “hamsa”, but very few managed to
traditional music. // Borbad, era and traditions of culture.
–
Dushanbe: Donish, 1989.
–
Р
. 180-181.
14
Losev A.F. Concepts of the artistic canon
.
// Problems of the
Canon in the Ancient and Medieval Art of Asia and Africa.
–
M.:
Nauka, 1973.
–
Р
age. 6-15.
15
Solihova H. Followers of Alisher Navoi.
–
Tashkent:
Publishing house named after G. Gulomnom, 2005.
–
Р
age. 15-
16.
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adequately continue this tradition. The history of
classical literature knows only three names of powerful
talents who have achieved success along this path.
Namely,
poets:
Khusrav
Dehlavi
(1253-1325),
Abdurakhman Jami (1414-1492) and Alisher Navoi (1441-
1501). Thus, Alisher Navoi being a quite venerable poet
in his early forties implemented his creative plan to rise
to the challenge and write “Hamsa” in response to
Nizami Ganjavi and Khusrav Dehlavi
16
.
Yet, Hazrat Navoi’s intention was not to translate the
“Hamsa” created in the Persian language by previous
poets but to create a new unique work in the Turkic
language to rank with the previous distinguished
works. In his epic “Farkhod and Shirin”, Navoi
mentioned that merely to “repeat” what his
predecessors had written did not befit a poet.
Therefore, he showed preference to create an original
one.
17
“It would be wrong to consider “Nazira”as an
imitat
ion, writes Bertels, “because the essence of this
phenomenon is not in imitation, but in the novelty
introduced by the poet into the subject ...
18
”
16
Bertels E.E. Selected works. Navoi and Jami.
–
M.: Nauka,
1965.
–
498 p.
Konrad N.I. Renaissance in Navoiy. // World Literature.
–
Tashkent, 2006.
–
№2. –
P. 127-134.
Sultan I. The uniqueness of world literature. // Alisher Navoi's
“
Khamsa
”
. Research.
–
Tashkent: Fan, 1986.
–
P. 5-9.
17
Sultan I. Navoi'sheartnotebook.
–
Tashkent: G. Ghulam
Publishing House of Fiction, 1969.
–
320 p.
There were ready-made themes and storylines within
the framework of “Hamsa”. However, a high skill level
was required for creative interpretation. That is why in
Eastern literature, only the most brilliant and talented
authors could introduce artistic expression into widely
known themes through interpretation. In this regard,
the scholars emphasize Goethe's famou
s saying: “The
most important point is not “what” but “how”. The
issue is about the use of the same themes by different
writers. It does not matter if the plot is the same the
most important is how skillfully it is expressed”
19
.
According to al-
Askari: “The
most paramount thing in
poetry is not to find a new poetic theme, because be it
an Arab ora foreigner, a city dweller, or a nomad they
are equally capable of doing this. What matters is how
it is expressed”
20
.
Yunusov M. Alisher Navoi on the creation of artistic tradition
and innovation. // Adabiy meros. I tom.
–
Tashkent: Fan,1968.
–
10-p.
18
History of Uzbek literature. The third book.
–
Tashkent:
Teacher, 1975.
–
Р.
28.
19
Karomatov H. Qur'on va Uzbek literature.
–
Tashkent: Fan,
1993.
–
Р.
12.
20
Karomatov H. Qur'on va Uzbek literature.
–
Tashkent: Fan,
1993.
–
Р.
11.
Volume 03 Issue 02-2023
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(ISSN
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VOLUME
03
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01-09
SJIF
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FACTOR
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)
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015
)
(2023:
7.
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)
OCLC
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1121105677
Publisher:
Oscar Publishing Services
Servi
Consequently, the aesthetics of similarity in literature
is expressed by the word “Nazira”
21
, which, in a broad
sense, means a work created as a specific analogy (or
response) to the work of a recognized and outstanding
master of the word.The following thoughts of
A.Khayitmetov further clarify the essence of the
esthetics of “Nazira”: “Navoi recognized his two
predecessors, great poets (Nizami Ganjavi and Khusrav
Dehlavi
–
Ch.E.), as his teachers when he began to
create “Hamsa” in his native language,he learnt the art
from them and tried to follow in their footsteps in
many way”.
22
Thus, those who chose “Nazira” for
their work, approached it creatively by enriching and
developing the selected theme, and, if necessary,
identifying new problems and introducing fresh ideas,
hence demonstrating their aptitude.
Nazira pattern observed in literature can be traced in
architecture, fine and decorative arts.
23
In particular, in
21
The Arabic word
“
nazira
”
means like,
“
as well as
“
high
example and imitation worthy of imitation
”
.
22
Hayitmetov A. The high stage of Navoi's aesthetics. // Alisher
Navoi's
“
Khamsa
”
. Research.
–
Tashkent: Fan 1986.
–
Р.
37.
23
GiyasiJ.A., Bairamov R.M. Pre-Muslim Buildings in Shiz and
the Medieval Architecture of Azerbaijan (Issues of Tradition
and Continuity). // Borbad and artistic traditions of the peoples
of Central Asia: history and modernity.
–
Dushanbe:
Donish,1990.
–
p. 256.
Mankovskaya L.Yu. Memorial architecture of Central Asia. //
Artistic culture of Central Asia IX
–
XII centuries. - Tashkent: Ed.
literature and art. G. Gulyam,1983.
–
p. 31
.
the short bibliographic illustrations created by
KamoliddinBehzod and his followers in the XV-XVII
centuries, literary themes, compositional patterns and
other formal stereotypes werereiterated, but each
time they were“invigorated” by different shades and
colors.
24
The researchers also argue that in the field of folk-
applied art, the precise dimensional patterns passed
from master to apprentice have been likewise
inextricably linked to the creative rise of masters
enriched with new edges and features.
25
All these
observations of Nazir's aesthetic manifestation in
various fields of an art show that perfect works of art
are emerging only with the close interaction of
centuries-old artistic traditions with genuine talent,
skill, and a broad outlook. Y.M.Lotmann's research
paper “Canonical art as an information paradox”
contains intriguing ideas about the “aesthetics of
Pugachenkova G.A. Khorasan mausoleums. // Artistic culture
of Central Asia. IX-XII centuries.
–
Tashkent: Ed. literature and
art. G. Gulyama, 1983.
–
Р
. 14.
Fakhretdinova D.A. Jewelry art of Maverannahr. // Artistic
culture of Central Asia. IX-XII centuries.
–
Tashkent: Ed.
Literature and art them. G. Gulyama, 1983.
–
P. 68.
24
Yusupova M., Rakhimova Z., Ibragimov O. Sufi traditionsint
heart of Maverannahr. XV-XVII centuries.
–
Tashkent: San'at,
2010.
–
Р.
74-126.
Khakimov A.A. Figurative-ornamental images and motives of
applied art. Artistic culture of Central Asia. IX-XII centuries.
–
Tashkent: Ed. literature and art named G.Gulyam, 1983.
–
Р
.
91.
25
Rempel L.I. Stone vessel from Turtkul-Tepe. // Artistic
culture of Central Asia. IX-XII centuries.
–
Tashkent: Ed.
literature and art named. G.Gulyama, 1983.
–
P. 170-171.
Volume 03 Issue 02-2023
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)
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)
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–
1121105677
Publisher:
Oscar Publishing Services
Servi
similarity”. It states, “Y.M Lotma
nn's research paper
“Canonical art as an information paradox” contains
intriguing ideas about the “aesthetics of similarity”: “It
has been established that there are two types of art in
historical poetics. One type is directed at canonical
systems (“ritualized art”, the art of the aesthetics of
identity). The other, on the contrary, violates canons
and breaches predetermined norms. In the latter,
aesthetic values arise not as a result of the
achievement of the canonical, but as a consequence of
its violation
26
.
CONCLUSION
Nazira as a creative method was widely introduced in
literature, fine and applied arts, and occupied an
important place in medieval oriental music.
Musicologist I.Eolyan states in this regard: one of the
distinctive features of the music of the near and Middle
East is a strict adherence to the artistic canon. This
canon embodied not only the “aesthetical ideal of the
era”, but also firm normativity, steady adherence to
the laws and traditions of sublime classical art”
27
. To
support this opinion there are numerous direct and
indirect evidence in historical treatises on music,
28
26
LotmanYu.M. Canonical Art as an Informational Paradox. //
Problems of the Canon in the Ancient and Medieval Art of
Asia and Africa.
–
M.: Nauka, 1973.
–
P. 16.
27
Eolyan I. Some universal principles of music of the Near and
Middle East. // Traditions of musical cultures of the peoples of
the Near and Middle East and modernity.
–
M.: Soviet
composer, 1987.
–
P. 265.
along with other written sources, including the studies
of musicologists of the XX-XXI centuries on the history
of Eastern musical culture. The most striking evidence
of this is Bastakorism and performing arts, which most
strongly embodied the traditions of the musical culture
of the past of our nation.
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Tashkent, 2008.
–
Рages 118
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2.
Begmatov S. Ushshak (interpreted by
Sodirkhan Hafiz and Yunus Rajabi). //
Rajabikhanlik. Proceedings of the scientific-
practical conference.
–
Tashkent, 1994.
–
Р. 32
-
39.
3.
Bertels E.S. Navoi and Eastern literature. //
World literature.
–
Tashkent, 2006.
–
No 2.
–
Р.
137.
4.
Vizgo T. To the question of the study of
makoms. //History and modernity. Problems of
the musical culture of the peoples of
Uzbekistan, Turkmenistan and Tajikistan.
–
M.:
Music, 1972.
–
Р. 396.
28
Vizgo T. To the question of the study of makoms. // History
and modernity. Problems of the musical culture of the peoples
of Uzbekistan, Turkmenistan and Tajikistan.
–
M.: Music, 1972.
–
P. 396.
Volume 03 Issue 02-2023
8
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
01-09
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
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Gafurbekov T. Folklore origins of Uzbek
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–
Tashkent:
O’qituvchu, 1984. –
Р. 8.
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–
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–
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Ibragimov O. Ferghana-Tashket makoms.
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–
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–
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Lotman Yu. M. Canonical Art as an
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–
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–
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Volume 03 Issue 02-2023
9
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
01-09
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
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1121105677
Publisher:
Oscar Publishing Services
Servi
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