American Journal Of Social Sciences And Humanity Research
51
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue04 2025
PAGE NO.
51-54
10.37547/ajsshr/Volume05Issue04-10
Formation and Development of The Uzbek Folk
Instruments Orchestra
Toirov Akbar
Uzbekistan State Conservatory, Lecturer of the Department of Music Pedagogy, Uzbekistan
Received:
12 February 2025;
Accepted:
13 March 2025;
Published:
10 April 2025
Abstract:
This article explores the historical and cultural processes that led to the formation and development of
the Uzbek Folk Instruments Orchestra. It highlights the significant role of national traditions, musical heritage, and
prominent composers and performers in shaping the orchestra. The study also discusses the evolution of
orchestration techniques, the inclusion of various traditional instruments, and the integration of folk melodies
into orchestral arrangements. Special attention is given to the influence of Soviet-era reforms and educational
institutions in institutionalizing the orchestra. The article concludes by analyzing the modern state of Uzbek folk
orchestras and their contribution to preserving and promoting the nation’s musical identity
.
Keywords:
Central Asian Art, Hellenistic Influence, Sogdian Musical Culture, Terracotta Sculpture, Musical
Instruments, Lute, Afrasiab Archaeology, Khwarezmian Art, Ancient Central Asian Music, Borbad, Tuproq-Qal'a
Wall, Paintings, Musical Culture, Sculptures of Musicians, Sogdian Religious Rituals.
Introduction:
The contemporary era is marked by an
increasing interest in the history of human cultural
heritage. Archaeological discoveries expand the
boundaries of history, and researchers are delving
deeper into the centuries-old past. Knowing the past
not only shows the intellectual development of society
but also helps in understanding the present time.
Studying the historical memory, social, and spiritual
experiences of past generations addresses the tasks of
modern ideological patriotism and international
education. Understanding the processes occurring in
the national artistic cultures of Soviet Eastern republics
and correctly evaluating new achievements in Soviet-
era contemporary art are crucial to understanding
which national traditions shape this new art and its
connections to the legacies of past centuries.
Soviet archaeologists, historians, and art critics have
created extensive literature illuminating the rich
achievements of the visual arts, craftsmanship, and
architecture in the multi-century cultures of the
peoples of Central Asia. While the achievements in
these areas are clearly documented, the situation is
different in the field of music. Although there are
sufficient foundations to recreate a full picture of past
musical life, this is an extremely complex task. In some
aspects, it may not even be feasible because history has
not preserved ancient music in its live form. Unlike
works of visual art, musical compositions have
disappeared, and they cannot be restored with any
effort. This is likely the main reason why musicology
lags behind other branches of art studies. While major
research has been conducted on the literature,
architecture, and visual arts of Central Asia, music-
historical science is only beginning to take its first steps
in the republics of this region. However, the discipline
can already rely on a wealth of material from relevant
fields during its formation process.
Valuable information can be found in the works of
famous orientalists such as Ye.E. Bertels, A.N.
Kadimirev, B.L. Riftin, and A.A. Semenov. New pages in
the history of Central Asian musical culture were added
by the discoveries of Soviet archaeologists: the Ayrtom
and Termez archaeological expeditions (led by M.Ye.
Masson), the Khorezm archaeology-ethnography
expedition (S.P. Tolstov), the Tajikistan archaeology-
ethnography expedition (A.M. Belenitsky, M.M.
Dyakonov, A.Yu. Yakubovsky), and the Southern
Turkmenistan complex expedition (M.Ye. Masson). The
expeditions of the Hamza Institute of Art Studies under
American Journal Of Social Sciences And Humanity Research
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
the Ministry of Culture of the Uzbek SSR (led by G.A.
Pugachenkova) made a significant contribution in this
field. The terracotta figurines of musicians found in the
ancient city of Samarkand
—
Afrasiab's city center
—
were thoroughly analyzed in the publications of K.V.
Trever and V.A. Meshkeris. The archaeological works of
R.L. Sadokov, dedicated to ancient Khorezm, are of
particular importance in the music-historical context.
The scope of issues raised by these researchers is
broad, and their factual material is diverse. However,
this information is scattered across various specialized
publications and often remains unnoticed by music
historians. Given the task of creating a history of the
musical culture of the peoples of Central Asia, there
was a need to consolidate this information. As a step
toward resolving this issue, studying certain aspects of
musical-historical problems could be helpful. One such
aspect is the historical development of musical
instruments that have long existed in the Central Asian
region.
Interest in studying musical instruments has
significantly increased in recent years, especially in
regions with ancient traditions of folk instrumental
culture. It is known that the images of musical
instruments found during archaeological excavations in
the territory of our country are most common in
Central Asia. Recent publications by Soviet Orientalist
musicologists dedicate special attention to the study of
musical instruments. This issue is multifaceted and can
be examined both from the perspective of cultural
heritage and the role and use of musical instruments in
the modern life of the people. Detailed study of the
technological features of widely distributed folk
instruments, with the aim of improving them based on
new requirements, can serve as an object for research.
As material culture products, musical instruments are
also directly related to spiritual culture. Their structure
and performance possibilities reflect the laws of
musical thinking, as well as the aesthetic taste formed
at a particular stage of society's development.
Furthermore, it should not be forgotten that musical
instruments or their depictions preserved in material
culture artifacts are often the most reliable, and
sometimes the only, source of information about a
society's musical life.
For researchers studying any type of artistic heritage of
the peoples of Central Asia, determining the
geographic boundaries of their work presents a
particular challenge. The modern borders of the
countries of the Near East were formed relatively
recently. Throughout the long history of Central Asia,
various state structures emerged in its territory,
extending far beyond today's borders. This trend was
characteristic of ancient periods (Parthia, Sogdiana,
Bactria, Khorezm) and continued in the medieval era.
For example, during the 9th
–
10th centuries, the lands
of present-day Iran and Afghanistan were under the
rule of Bukhara. In the 12th century, Khorezm's
possessions stretched as far as the northern regions of
India; in the 14th century, the Great Timurids state,
centered in Samarkand, arose from the ruins of the
Mongol Empire. Political unifications have accelerated
the exchange of artistic values. Poets, artists, and
musicians were invited from one ruler's court to
another, bringing with them their respective artistic
styles. Established cultural connections led to the
formation of art forms and genres common to different
peoples.
It would be futile to attempt to determine which of the
peoples of Central Asia had superiority in creating and
developing particular types of musical instruments. The
most perfect of these instruments are the result of
centuries of development. Folk instrumental culture
was already a complex and multifaceted phenomenon
in ancient Central Asia, created through the efforts of
numerous peoples.
If the history of Central Asian musical instruments
cannot be studied independently of the cultural
heritage of foreign Eastern countries, distinguishing the
spread of these instruments within Central Asia,
especially within the modern borders of the Soviet
Eastern republics, is even more difficult. For example,
some types of musical instruments are common to
both Uzbekistan and Tajikistan. The main "dividing line"
is even felt among musical instruments used by
nomadic and settled populations within a single
republic in the recent past. For instance, musical
instruments used in certain rural areas of Uzbekistan
are also found in Kyrgyzstan and Kazakhstan, where
nomadic pastoralism was the main economic activity
until the pre-revolutionary period.
Returning to the issue of geographic research scope, it
is important to note that Central Asia mainly refers to
the territories of Uzbekistan, Tajikistan, Turkmenistan,
and Kyrgyzstan. However, when considering the
musical instruments of these republics, the scope of
their spread outside these borders should also be taken
into account. For example, when studying musical
instruments from the 14th
–
16th centuries, it was
necessary to use not only Central Asian manuscripts but
also data from Persian artistic miniatures. A similar
approach was used when studying the works of
medieval theorists: alongside the treatises of Central
Asian thinkers, the research of several Persian scholars
was also involved.
The history of world culture (including musical culture)
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
does not develop uniformly. In recent centuries, the
development of musical culture in European countries
has been so rapid that its achievements overshadow
earlier stages of this field in European consciousness.
Musicological literature in European languages during
the first half of the 19th and 20th centuries was largely
based on European musical norms, attributing
universal significance to them. This "Eurocentrism" in
many books about the history of world musical culture
led to little attention being paid to the arts of Eastern
peoples. In recent decades, new trends have begun to
emerge. For contemporary musical avant-garde
thinkers, attempting to contrast the East with the West
has become characteristic, claiming that connections
between the musical cultures of different continents
are detrimental and lead to the distortion of national
art forms in Asian and African countries.
Soviet musicologists, however, hold a fundamentally
different position. As the experience of cultural
construction in Soviet Eastern republics has shown, the
exchange of artistic values does not diminish national
wealth but enhances it. The experience of human
history teaches us that no people has ever developed
in isolation. One of the important tasks arising from this
is to demonstrate that the history of world musical
culture is the result of the joint activity of various
peoples. The multifaceted connections between
different peoples are reflected in the arts, enriching
cultures that have diverse sources.
For ancient and early medieval periods, the depictions
of musical instruments on stone, clay, silver objects,
and wall paintings served as important sources. From
the Timurids period to the 18th century, artistic
miniatures were the main source of information.
Additionally, the musical-theoretical sections of
medieval encyclopedias (treatises dedicated to music)
of the 9th
–
17th centuries are of great scholarly
significance. Various literary sources were also widely
used in research. While there are no special studies on
the history of Central Asian musical instruments, some
information can be found in travel descriptions,
research on the history of related art forms, various
monographs, collections, albums, and works dedicated
to the artistic heritage of Central Asia and Iran by Soviet
and foreign authors.
Central Asia has been a crucial link in the chain of highly
developed ancient countries, often referred to as the
"Central region" of the Old World (in the words of N.I.
Konrad). This region not only includes Central Asia itself
but also modern Afghanistan, northern India, Iran, the
Caucasus,
and
several
countries
near
the
Mediterranean. Geographically "central," this area was
also one of the main centers of the Old World politically
and culturally. Most importantly, this is where the
"universal"
—
i.e., not local but world cultural centers
—
were formed.
This phenomenon is likely connected to the early and
highly developed rise of art culture along the "Central
region" of Central Asia. People in ancient Central Asia
were already creating and striving for artistic
expression early on. This is evident from the geometric
shapes, animal and nomadic depictions on pottery,
bronze, and stone objects
—
artifacts left by people
living here 4-5 thousand years ago.
Little information has been preserved about the music
of ancient Central Asian peoples. Greek and Roman
writers mention that the Persians and Massagetae
performed songs and dances during religious
ceremonies. The Zoroastrian sacred book "Avesta,"
which contains the myths of the ancient peoples living
between the Iranian Plateau and Central Asia, includes
hymns (Gathas) sung by priests (magi). However, it is
impossible to determine the melodies of these hymns
today.
In the Examples of the Ancient Art of Central Asia (3rd
century BC
–
3rd century AD), including sculpture, wall
paintings, and items made of clay and bone, a close
fusion of local and Hellenistic traditions can be seen. In
some cases, Hellenistic influence was so strong that it
shaped not only the stylistic features of the works but
also the images related to Greek mythology. In other
cases, local traditions, primarily linked to the customs
and beliefs of the indigenous peoples of Central Asia,
were distinctly emphasized. It is noteworthy that in the
most popular forms of art (for example, in coroplastic
art), local traditions remained particularly strong. This
situation, of course, was also related to the political
situation. For instance, the art of Khwarezm, which
preserved its political independence, was less
influenced by Hellenistic art compared to the art of
Parthia.
The data shows that the centers of musical culture
were located in the territories of ancient states: in
Sogdiana's Marakanda (ancient Samarkand), and in
Parthia's Nisa. Additionally, on the right bank of
Khwarezm, there was a complex of religious and palace
buildings, and the cities of Bactria stood out with their
rich cultural centers.
Since the late 20th century, archaeological excavations
in Afrasiab and ongoing research have provided rich
material. Labor instruments, various weapons,
household and artistic items, and various coins indicate
the highly developed craftsmanship and extensive
trade connections between the peoples of Central Asia.
Among the finds, terracotta figures depicting
musicians, warriors, and female musicians stand out.
The numerous musicians reflect the special respect
American Journal Of Social Sciences And Humanity Research
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
that ancient sculptors had for the profession of
musicians. This is not a coincidence and likely indicates
that music played a significant role in the life of the
Sogdians, participating in their religious rituals and folk
festivals. The depiction of musicians in the monuments
of ancient Central Asian art shows that they were
valued as much as figures from Greek mythology or
epic heroes.
The terracotta musicians are small sculptures, about 9-
10 cm tall, made from fired clay. The back is flat, while
the ancient side is sculpted. They were pressed into
special molds and then hand-shaped before being fired.
The clothing of these musicians is typical, consisting of
a long free dress, trousers, and boots. Their faces are
oval, with a broad forehead, almond-shaped eyes,
distinct eyebrows, a small mouth, and a firm jaw,
reflecting the ethnic type of the indigenous Sogdian
population. Many sculptures have been damaged, and
some have only fragments preserved. Most of the
terracotta musicians date from the 1st century BC to
the 3rd century AD, but some sculptures date back to
the 5th-7th centuries BC.
From the terracottas found in Afrasiab, it can be
inferred that the favorite instrument of the Sogdians
was the lute (lutnya). Many of the sculptures clearly
depict this instrument. Various sizes and shapes of lutes
exist, but their main features are consistent. We can
see a well-known type of lute with a long div, short
neck, and a head tilted backward. This type of
instrument is called a "short lute" in musical studies
(often just called lute) or "uda."
In ancient Central Asia, apart from Afrasiab, drum
depictions in the shape of hourglasses are also found in
Khwarezmian monuments. These are especially
depicted in the 3rd-4th century wall paintings in the
Tupraq-Qala Palace. Based on the clearer details in the
Khwarezmian artist's drawing, the appearance of the
Sogdian drum can be reconstructed, which was only
generally depicted in the Afrasiab representation. The
drum narrows from the middle, meaning its diameter is
significantly smaller in the center compared to the
edges. The construction and external appearance of
the Sogdian drum might closely resemble the
Khwarezmian drum.
It is likely that this drum, like the one in the wall
painting of Tupraq-Qala, was played with both hands'
fingers. Based on terracotta forms, Sogdian drums are
depicted as being hung from a belt or mounted on a
belt. If there were sometimes women among the
musicians, the Sogdian drum, like in other Eastern
countries, might have been used not only in military but
also in religious ceremonies. In the poorly preserved
terracotta from Afrasiab, a musician playing a musical
instrument resembling a mounted horseman is
depicted. This description represents a rare instance of
the described type of drum.
Speaking of drums and rituals, cymbals (struck musical
instruments) are shown in many historical monuments,
notably in a 6th century BC Assyrian painting. These
cymbals resemble the orchestra cymbals from ancient
times. They were likely used in religious rituals or ritual
dances, a practice considered to have very ancient
origins.
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