EIJP ISSN: 2751-000X
VOLUME04 ISSUE12
111
HISTORY, STAGES OF DEVELOPMENT AND PERFORMANCE POSSIBILITIES OF DUTAR
MUSICAL INSTRUMENTS TODAY
Hamidova Umidakhan Habibullaevna
State Conservatory of Uzbekistan, “Music pedagogy”
department, senior teacher, Uzbekistan
AB O U T ART I CL E
Key words:
Dutar instrument, historical
development, modern performance, folk music,
technical methods, musical culture, international
musical dialogue.
Received:
14.12.2024
Accepted
: 19.12.2024
Published
: 24.12.2024
Abstract:
This article studies the origin of the
dutar musical instrument, the stages of its
historical
development
and
its
modern
performance possibilities. The article analyzes the
importance of the dutar instrument in ancient
culture, its place in folk traditions and art. It also
expresses its thoughts on the specific technical
methods of dutar performance, the structure of the
instrument and its place in professional musical
performance in the present period. The
possibilities of using the dutar instrument in
modern performance, its importance and creative
possibilities in international musical dialogue, as
well as changes in the performance process with
the help of technological innovations are
highlighted.
INTRODUCTION
The Dutar is a traditional Uzbek stringed instrument, classified as one of the "chertim"
musical instruments. Its origins trace back to ancient times, and it has been a key part of traditional
performance styles across Central Asia. Historical records, including 15th-century manuscripts,
highlight its use and significance. As a traditional solo instrument formed and among the leading
instruments entered Historical formation of Dutar and aspects of harmony with other instruments
going back to the distant past, musical described in pamphlets from the 15th century will come
according to Farabi, the Khurasan tanburi shares several features with the modern Dutar, as its design
and characteristics closely resemble it. According to the musicologist Zainul al-Din al-Husaini, the Dutar
was first formally documented in his treatise "Legal Science and Practical Music." He described it as a
two-stringed instrument with frets tied along its handle to produce a fourth interval. Traditionally made
from mulberry wood, the Dutar consists of two main parts: the resonator (bowl) and the neck. Its
strings, originally made of silk, are now commonly crafted from synthetic materials. But note it should
be noted that the instrument described in the brochure is modern in every way close to the word Dutar.
VOLUME04 ISSUE12
DOI:
https://doi.org/10.55640/eijp-04-12-24
Pages:111-113
EUROPEAN INTERNATIONAL JOURNAL OF PEDAGOGICS
ISSN: 2751-000X
VOLUME04 ISSUE12
112
The difference is only in form. Because The calyx of the described Dutar is smaller than the modern
Dutar but it is bigger and the handle is shorter. The instruments of the times it is inevitable that it will
undergo a process of change or improvement. Dutar is Uzbek, Turkmen, Tajik, Karakalpak of Central
Asia It is a widely popular instrument among peoples. It should be noted that each folk teacher has some
unique features. Dutar is a two-stringed musical instrument. Usually from a mulberry tree is prepared.
The instrument is divided into two main parts: a) bowl (resonator); b) stack. The bowl of the instrument
is 10-12 thin made by gluing ribs together and its upper part is covered with a special cover. A special
device for hanging strings in the bowl of the instrument, i.e hangers are installed. The handle of the
dutar is facing the jussa of the instrument is determined. It has 14-15 membranes, which are the
intestine, in the modern process, it is made from jilka (artificial thread) and strings made of silk.
Traditional Dutar curtains are diatonic located in the vocal tract. At the beginning of the chapter and
there are two special ears. Pulling the thread of the ears and used to tune the instrument. In the
instrument, two strings are installed for pure transmission of sound. The kharrak at the top of the
instrument is the shaytan kharrak is called and is located between the ears with the first membrane.
Bottom kharak is made in a special way and according to the tuning of the instrument mounted on the
cover. Dutar has a variable feature among Uzbek folk instruments includes instruments. Therefore, the
words of the instrument in this category (strings) are tuned to the desired pitch (sound) for
performance. Dutar depending on the asai being performed in performance practice, i.e. quarta,
adjustable to fifths, unisons, octaves, and second intervals. In performance practice, in the traditional
style of performance, the pitch of the fifth is wide is used. Quarta-Tanovor sozi, unison-couplet, octave-
Bayotare also called sozi names. Adjustment based on second and third interval is in modern process
Dutar is among the traditional instruments for different and colorful beats Rich, elegant and feminine,
rich in philosophical sound, the instrument is different as a sound is widely used in the practice of
performers. 0 folk traditional and regional performance of Dutar in Uzbekistan styles are available.
Ferghana-Tashkent and Khorezm regional styles There are several performing arts schools, each of
which has its own characteristics. In Khorezm, special student statuses have also been established.
Composers such as Mahmud Yunusov, Gulomjon Kochkarov, Fakhriddin Sadikov, Zakiijon Obijov, Arif
Kasimov, Nurmuhammad Boltayev, Pahlavon Rasulov, Yusuf Jabbarov, Turgun Alimatov, Sayfiddin
Yoldoshyev, Ismatilla Rahmatillayev, Abdurahmon Hamidov, Malika Ziyoyeva, and Ahmadjon
Abdurahmanov are folk dutorists who have reached mastery in performance practice and have always
been respected by our people.
2. By the second half of the 1930s, the music culture among the peoples of Central Asia underwent
significant changes. In Turkmenistan, Kazakhstan, Kyrgyzstan, Uzbekistan, and Tajikistan, multi-voice
national instrument orchestras were organized. In Uzbekistan, A.I. Petrosyants, along with a group of
musicians and instrument masters, drew inspiration from the works of the Russian instrumentalist V.V.
Andreev and conducted extensive scientific research on the sounds of Uzbek folk instruments. With the
support of Master Usman Zufarov, a family of dutors was created: the Dutar contrabass, bass, tenor,
alto, seconda, and prima. These instruments were suitable for multi-voice orchestra and ensemble
performances and convenient for solo academic performance. The Dutar was the first folk instrument
to be modernized. This modernization was not accidental. The Dutar is not only the most common
instrument among the people but also has a musical scale closely aligned with the twelve-step scale,
making it ideal for adaptation.
3. Each national musical instrument has its own history of formation, performance possibilities, unique
and attractive sounds, and admirers. Conducting practical and theoretical scientific research on these
EUROPEAN INTERNATIONAL JOURNAL OF PEDAGOGICS
ISSN: 2751-000X
VOLUME04 ISSUE12
113
instruments and passing this knowledge on to the younger generation is a significant responsibility of
experienced educators in this field. The Dutar is distinguished from other instruments by its melodious
and mellow sound. Currently, Dutar performance art has developed in two main directions: traditional
and academic. Traditional Dutar performance is characterized by four main schools: Andijan, Tashkent,
Samarkand, and Khorezm. Uzbek folk songs, as well as works by Uzbek, neighboring, and foreign
composers, are studied and performed on prima, alto, and traditional Dutars. To master performance
in both directions, students must thoroughly understand the types of musical instruments, their history,
and develop both theoretical knowledge and practical skills. This knowledge is reinforced through
courses such as Solfeggio, Harmony, Musical Literature, Orchestra, Ensemble, Analysis, and
Specialization. In this regard, training sessions for the Specialization course should focus on the
following: teaching selected pieces using sheet music; practicing regular exercises, scales, and etudes;
studying the performance styles of skilled musicians by analyzing scores, audio, and video recordings;
and exploring new interpretations in performance. Through these training methods, students develop
the following skills: distinguishing the performance styles of master musicians and forming their own
unique style; reflecting the life and creative work of Uzbek, Russian, and foreign composers in their
performances; and improving technical performance skills. This forms the foundation for producing
well-rounded specialists with both theoretical and practical musical expertise.
REFERENCES
1.
Abdurahmanov, M. (2001). History of Uzbek Folk Instruments. Tashkent: Science and Culture
Publishing.
2.
Levin, T. (2006). The Music of Central Asia. Bloomington: Indiana University Press.
3.
Djumaev, A. (2012). "The Role of Dutar in Central Asian Folk Music Tradition." Asian Music, 43(2),
20
–
35.
4.
Mukhtarova, G. (2014). Traditional Musical Instruments of Central Asia. Almaty: Heritage
Publications.
5.
Baily, J. (1988). Music of Afghanistan: Professional Musicians in the City of Herat. Cambridge:
Cambridge University Press.
6.
Yusupov, R. (2018). "Innovations in Dutar Performance Techniques." Central Asian Journal of Music
Studies, 7(1), 45
–
60.
7.
Snesarev, G. P. (1974). Uzbek Musical Instruments and their Performance Practices. Moscow: Nauka.
8.
Karomatov, F. (1982). Uzbek Folk Music: Traditions and Innovations. Tashkent: Fan.
