EIJP ISSN: 2751-000X
VOLUME04 ISSUE11
21
NOTATION OF COMPLEX EXAMPLES OF UZBEK MUSICAL HERITAGE
Ibragimov Bobir Mansurovich
Dean of the National Pop Art Institute named after Botir Zakirov under the State Conservatory of
Uzbekistan, senior teacher, Uzbekistan
AB O U T ART I CL E
Key words:
Uzbek musical heritage, complex
forms of melodies, notation, shashmakom,
musical culture, musical traditions, notation
technique, music theory.
Received:
01.12.2024
Accepted
: 05.12.2024
Published
: 10.12.2024
Abstract:
This article studies the issues of notating
complex forms of Uzbek musical heritage. The
article analyzes the importance of restoring the
rich traditions of national musical culture through
modern technologies and musical notation
methods and passing them on to future
generations. The article also discusses the
problems encountered in notating complex
melodies and songs, their technical and theoretical
solutions. During the study, the process of notating
musical samples of high artistic value, such as
shashmakom and maqomnavo, and creative
research based on them were also considered. This
work, along with introducing new theoretical
approaches to musicology, is of practical
importance in preserving musical heritage.
INTRODUCTION
There Complex musical forms are musical works that
differ from simple forms, such as songs or simple sholgu, and can
incorporate more complex elements, such as different tempos, rhythms,
harmonies, melodies, and structures. Large-scale examples of the Uzbek
musical heritage (such as ashula, doston, maqom yullari, sholgu kuy
series). The difficulties and complexities of notating large, wild, classical
samples and ways to overcome them, the procedure for writing with or
without a relatively chosen time signature, developing the skills of
relying on stable musical instruments in performing arts, transcribing
the poetic texts of samples of songs on paper and comparing them with
the originals, as well as symphonies, operas, ballets, jazz improvisations,
and experimental electronic music.
VOLUME04 ISSUE12
DOI:
https://doi.org/10.55640/eijp-04-12-04
Pages:21-23
1-photo. Yu.R
а
j
а
biy
EUROPEAN INTERNATIONAL JOURNAL OF PEDAGOGICS
ISSN: 2751-000X
VOLUME04 ISSUE12
22
We can see examples of Uzbek classical music in the experience of V. Uspensky, Yu. Rajabiy, Ye.
Romanovskaya, B. Fayzullaev, Sh. Sohibov and F. Shakhobov, M. Yusupov, A. Khamidov in their efforts
to record and improve maqom samples. Current and long-term priorities are aimed at further
supplementing and improving existing notations in the future.
Composer, ethnographer, teacher, music public figure, Doctor of Arts. One of the founders of Central
Asian musical folklore, Viktor Alexandrovich Uspensky organized
ethnographic concerts of the peoples of Central Asia in 1919-23. He took notes
of the sholgu and ashula sections of Shashmakom from Ata Jalol and Ata
Ghiyoslar, and the Fergana-Tashkent maqom routes from Sh. Shoumarov. In
1927 and 1931, he organized ethnographic expeditions in the Fergana Valley,
recorded hundreds of songs, large songs, folk songs, and folk songs, and in
1925, 1927, and 1929, he recorded and published more than 350 Turkmen
songs and folk songs in Turkmenistan. "Shashmakom" in 1924, Moscow,
"Turkmen Music" in 1928, Moscow, "Uzbek Vocal Music" in 1950, and others.
The contribution of the composer, singer and musician, academician Yunus
Rajabi to the collection of Uzbek musical heritage is
truly immense. Starting in 1935, he began collecting
melodies, songs, and maqoms. As a result, 29 songs
and songs, which Yu. Rajabi set to music, were
included in the collection "Uzbek folk songs" compiled by E. Romanovskaya
and A. Akbarov in 1939. Yu. Rajabiy prepared a new 6-volume edition of
"Shashmakom" and a complete collection of gramophone records, a means of
preserving the musical melodies of that era, in the 1970s at the Tashkent
gramophone studio.
Elena Yevgenyevna Romanovskaya, an artist and musical folklorist who served
in Uzbekistan, graduated from the Leningrad Conservatory in 1929, worked at
the Tashkent Music School from 1929 to 1936, and from 1936 as a teacher at
the Tashkent Conservatory. In her creative work, she created the "Uzbek
Music" course, in recognition of her interest in Uzbek art. He wrote down and
published Uzbek women's songs, Khorezm maqoms, and dutar melodies ("Khorezm classical music", T.,
1939; "Uzbek laparlari" T., 1941; "Uzbek sholgu music", T., 1948, and others). Among them, the 2-
volume collection "Uzbek folk songs" (T., 1939, in collaboration with I. Akbarov) is of great importance.
Pay attention to the changes in melody during the notation of epics, the specific features of the maqom
lines. The perfection and formal complexity of the melodies with them, the rhythmic aspects of the
large-scale songs, the artistic aspects of the works of this genre, the unity of the pitch and rhythmic
development of the sholgi melody and the songs of the ashula group. These musical forms may have
several parts or movements that vary in tempo, rhythm, harmony, and structure, and may last from a
few minutes to several hours.
To learn and interpret complex musical forms, one must have experience and knowledge in music
theory and practice. These include knowledge of general musical structure, analysis of harmony,
melody, and rhythm, understanding the style and context in which the work was created, and the ability
to perform music on the flute or in the voice. Knowledge of such complex musical heritage is very
important for the Uzbek cultural heritage, because they are a manifestation of high art and musical
talent and technique. They also serve as inspiration and models for new musical works. Recording such
2-photo.
V.Uspenskiy
3-photo.
Y.Rom
а
novsk
а
y
а
EUROPEAN INTERNATIONAL JOURNAL OF PEDAGOGICS
ISSN: 2751-000X
VOLUME04 ISSUE12
23
samples is a very complex process, and they can take on a wide variety of elements and changes during
the composition. Knowledge of harmonics, rhythm, tempo, dynamics and the structure of the work are
of great importance in notation. Also, a good knowledge of music theory and practice, the ability to read
music notation, and the ability to use music software are required to record complex musical patterns.
One of the most common methods of notating music is to write music on paper using a staff, which is a
line of lines on which notes and other musical symbols are placed. It is possible to use special programs
that allow you to write music on a computer, use various instruments and sounds, and create scores for
musicians. When musical notation is written in this way, it can be used by musicians to perform the
composition. Musical notation contains important information about melody, harmony, rhythm,
dynamics, and tempo, and provides instructions for musicians, such as which chords to use and how to
achieve a particular musical effect. It is important to note that musical notation, like any other musical
piece, can be written in different ways by different composers. For example, some composers may use
complex musical symbols and notations to convey more specific information about the music, while
others may use simpler symbols and notations. Musical notation is a way of storing and transmitting a
musical sample. Music can also be recorded in other formats, such as audio recordings, video
recordings, or even traditional notations used in folk music. Each of these formats has its own
advantages and disadvantages, and the choice of format depends on the purpose of storing and
transmitting the musical sample.
CONCLUSION
Taking into account that writing down complex music is a very time-consuming process, it is necessary
to preserve this work and make it accessible to musicians and listeners. Musical samples can be written
down manually on paper or on a computer using special programs for notating music. There are various
music notation editor programs that allow you to create musical notations using various musical
symbols, create and edit various musical effects, and apply different settings to each note and part of
the composition. Writing music can be a very complicated process due to its traditional characteristics,
especially when it comes to complex musical patterns. To successfully record music, you need to have
good musical skills, know the rules and symbols of musical notation, and have a good understanding of
music theory. In addition, it is important to have good hearing and musical analysis skills to correctly
interpret and record a musical sample. Musical notation is an important tool for storing and
transmitting complex musical samples and is an integral part of musical culture. While writing music
can be a difficult task, it allows musicians to learn and perform music for many generations and
preserves the cultural heritage of music.
REFERENCES
1.
Ibragimov B.M. Notation. Tutorial. Toshkent 2023, 212 p.
2.
Ibragimov B.M. Classification of music computer software. International scientific-online con-
ference September 22, 2022 https://www.doi.org/10.5281/zenodo.7102969
3.
Ibragimov B.M. Nota yozuvining isloh qilinishi. nota yozuvini gvido d'arezzo tomonida isloh
qilinishi. Eurasian journal of social sciences, philosophy and culture. Innovative Academy Research
Support Center UIF = 8.2 | SJIF = 6.051 https://www.in-academy.uz Online: 14th December 2023
4.
Ibrohimov O.A. “Oʻzbek xalq musiqa ijodi” (metodik tavsiyalar 1
-qism), Toshkent. 1994-y. B. 62.
5.
Ibrohimov O.A. “Maqom va makon” Movaraunnahr, Toshkent 1996
-yil.
