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THE ART OF LYRICAL SINGING IN UZBEKISTAN IN THE LAST
YEARS OF THE 20TH CENTURY.
Azamova Mukhlisa Azam kizi
Namangan state pedagogical institute,
Master of music education and arts.
https://doi.org/10.5281/zenodo.14059638
Annotation:
This article provides detailed information about the activities
of singers working in the territory of Uzbekistan in the last years of the 20th
century, the development of the most popular type of music, the art of singing.
Keywords:
music, song, development, period, art, instrument, radio,
television, process, tradition, status, singing skill.
Аннотация:
Мазкур мақолада ХХ асрнинг сўнгги йилларида
Ўзбекистон худудларида фаолият юритаётган
қўшиқчиларнинг фаолияти,
мусиқа саньатининг энг оммалашган тури бўлмиш қўшиқ санъатининг
ривожланиши ҳақида батафсил маълумот берилган.
Калит сўзлар:
мусиқа, қўшиқ, ривожланиш, давр, санъат, чолғу, радио,
телеведения, жараён, анъана, мақом, қўшиқчилик маҳорати.
Аннотация:
В данной статье представлена подробная информация о
деятельности певцов, работавших на территории Узбекистана в последние
годы XX века, развитии самого популярного вида музыки – певческого
искусства.
Ключевые слова:
музыка, песня, развитие, период, искусство,
инструмент, радио, телевидение, процесс, традиция, статус, певческое
мастерство.
At any time, people’s worldview is somewhat different from that of their
predecessors and changes. This is a natural and social process that has been
repeated for centuries. Over the past period, the Republic of Uzbekistan has
adopted a number of normative and legal acts on the development of culture and
arts [1]. In particular, the Resolution of the President of the Republic of
Uzbekistan No. PD - 3391 of November 17, 2017 “ On measures to further
develop the art of the Uzbek national makom”, of May 30, 2019 “ On the
organization of the activities of the state museumreserves Sarmishsay”,
“Shakhrisabz”, “Termez” and “Kokand” Resolution of the Cabinet of Ministers of
the Republic of Uzbekistan No. 443 of April 21 [2] , 2020 “On measures to
further increase the efficiency of the fine and applied arts” Resolution No. PD -
4688 of May 26, 2020 “Culture Decree No. PD-6000 of May 23 [3]. This process
was clearly visible in Uzbek singing in 1975-2000. Looking at the stages of
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development of Uzbek singing until recently, we can see that a number of
singers came to the attention of the country and reached the level of popularity.
These are Yunus Rajabi, Komiljon Otaniyozov, Mamurjon Uzokov, Jorakhan
Sultanov, Arif Alimakhsumov, Fattokhan Mamadaliev, Fakhriddin Umarov,
Tavvakkal Kadirov, Murodjon Akhmedov, Kommuna Ismailova, Berta Davidova
other great singers. It is no exaggeration to say that the above-mentioned
singers were the luckiest of the hafiz who lived and created until the 1950s. The
reason for this was the introduction of radio and television into most Uzbek
households in the 1960s. Now the opportunity to directly enjoy the art of
singing, which is the most popular form of musical art, has expanded even more
in Fans. It is not a secret that at first fans were able to listen to songs only on
different stages, in different circles, at weddings or teahouses. [4] The singers
also performed on radio and television, became known to the public, and had the
opportunity to gain many fans. The establishment of the Mullatuychi
Tashmukhammedov record company in Tashkent also contributed to the
popularity of singers and gaining fans. Until the 1950s, musical instruments such
as tanbur, dutor, and doira were used as the main accompaniments in singing
practice, and since the 1970s, gizjak, nay, chang, kashgar rubobi, Afghan rubobi,
koshnay, and tor were added to the ranks of these instruments.
The famous singer and composer Komiljon Otaniyozov, the captain of
Khorezm singing, made the string instrument, which is considered the
instrument of the Caucasian peoples, take a permanent place in Uzbek singing. It
would be correct to say that all the works composed by this great singer were
created on the basis of Khorezm statuses and epics.
Komiljon Otaniyozov remained faithful to the traditions of Khorezm singing
and enriched it with his unique songs. We know that in the 1950s and 1960s,
Petrosyan and other Uzbek instrumentalists reworked many of the musical
notes and began to use them in musical ensembles [5]. The famous composer
Mukhammadjon Mirzaev created a series of tunes for the reworked kashkar
rubobi, which made this instrument popular in Central Asia. His creative
collaboration with Mamurjon Uzokov became the basis for Kashgar rubo to
become one of the main accompaniments in Uzbek singing.
If we take a brief look at Mamurjon Uzokov’s work, we can see that the
great traditions of Tashkent-Fergana singing took a leading place in his
performance style. It is known that singing in Uzbekistan has always developed
in two directions: The first is a masterly professional line in the oral tradition,
which includes status chanting, grand chanting, epic singing, or devotional
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singing. These have always been developed over centuries in a master-disciple
style. The second direction is the public direction, which includes folk songs,
lapar, and songs on household topics created based on the needs of the times.
By 1975, a number of young and talented singers entered the art of Uzbek
public singing. These are singers such as: Atajon Khudoyshukurov, Artik
Atajonov, Sherali Joraev, Kamolidin Rakhimov, Hayrullo Lutfullaev, Khojakbar
Khamidov, Tajiddin Muradov, Orinboy Nuraliev, Nurridin Khamrokulov,
Akhmadjon Shukurov, Ikromjon Boronov, Gulomjon Yakubov, who are Uzbek
with their voice and their performance style. they enriched the art of singing.
The poems and ghazals of poets like Sabir Abdulla, Chustiy, Khabibiy, Erkin
Vakhidov, Abdulla Oripov, Pulat Mumin, Turob Tula who lived and created
during this period, served as a source of inspiration for the singers.
Most of the singers named above have made some reference to the heritage
of our classical music. But a large part of their repertoire consists of songs
created by themselves and composers. We should highlight three of these
singers. The singers we want to highlight have gained a lot of fans and managed
to inspire young, talented singers through their performance styles. [6].
One of the same singers, People’s Artist of Uzbekistan, Sherali Joraev, would
not be mistaken. In the 1970s, songs such as “My first love”, “I wrote a letter to
Dildar” brought him popularity. The voice of the singer is a dramatic baritone,
which is distinguished by its sonority and brilliance.
Envious of his style of performance, several famous singers came out: Kadir
Mirashurov, Abdurauf Olimov, Nuriddin Khaidarov, Rustam Goyipov, Akhror
Usmanov are among them. In short, Sherali Joraev was able to create her own
singing school. People’s Artist of Uzbekistan Artik Atajonov is a student of
Komiljon Atajonov from Khorezm singing school. [7]. His voice is a dramatic
tenor with a very pleasant timbre. This singer became an example to many
people with his modesty and good manners, both on the stage and in his
personal life. Kamaloliddin Rakhimov’s unique way of striking the words
surprised even the famous musicians. This Hafiz was clearly distinguished from
other singers with his performance style and was able to create his own school
of Uzbek singing. successors are counted.
In conclusion. We would like to emphasize that at the beginning of the 20th
century, there were status, big songs, epics and folklore types of singing, and
later, opera, musical drama, pop and traditional singing types were added to
their ranks. Accordion, clarinet, electric guitar, percussion, and percussion
instruments have been used as accompaniments in traditional singing. In
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addition, thanks to radio and television, Indian, Arabic, Iranian, Azerbaijani and
Turkish music entered Uzbekistan. They started using them to play their new
songs. Taking this into account, it is more correct to call the singing of this
period not traditional, but lyrical singing.
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4. Karomatov F. Uzbek instrumental music. Tashkent. 1972. - P. 100
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