ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
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THE SCIENTIFIC AND SPIRITUAL HERITAGE OF UZBEK MUSICAL
INSTRUMENTS.
Mamatkulov Abdulxamid
Abdulxamidovich Oybek Mamatkulov
Mamatkulova Maxfuza
Gulistan State University, teacher
of the Department of Music Education
Abstract: This article is about the origin of Uzbek folk instruments, the sources of
information about them, and the opinions of our scholars about Uzbek folk instruments
in their musical treatises. The article also talks about the history of musical instruments
and their importance today.
Key words: music, musical instrument, rubob, circle, musical treatise, musical
heritage.
It is known from history that Uzbek folk instruments have been formed in various
ways, from unique forms and in accordance with all branches of music, and have
developed over centuries. Our great scholars Abu Nasr Farobiy (9 th century) in his
“Katta musiqa kitobi”(Big Book of Music), Safiuddin Urmaviy (12th century) in his
treatise on Music, Abdul Qodir Marogiy (14th century) in his treatise "Jami al-alhon
fi-ilm al-musiqiy ", Ahmadiy (14th century) in his work "The discussion of words",
Zaynul al-Din Husayni (15th century) in his treatise "Risola dar bayoni qonuni va va
amali musiqiy", Abdurahmon Jomiy (15th century), Amuliy (16th century), Darvesh
Ali Changiy (17th century) in his musical treatises. studied them, touched on various
aspects of research issues, and described the classification of musical instruments of
their time. Great poets of the past referred to musical instruments in their works when
recording the names of musical instruments and their skilled performers. In particular,
it can be learned from the works of the great thinker poet Alisher Navoiy, who reached
the level of enlightenment with his work, that he emphasized the most sophisticated
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and classical branches of music science. By the 20th century, scientists such as
Eyxgorn, Abdurauf Fitrat, Viktor Belyayev made effective efforts to study musical
instruments and their performance issues. In historical manuscripts, literary works and
musical treatises, the names of the instruments created in the practice of musical
performance of the peoples of Central Asia are expressed. Musical brochures contain
information about instruments (shape, structure, ratio of strings, tuning criteria, trees
and materials used in making instruments. They include stringed instruments: Borbad,
Ud, Rud, Qobiz, G'ijjak, Navha, Nuzkha, Qonun, Chang, Rubob, Tanbur, Dutor; Wind
instruments: Ruhafza, Shammoma, Organun, Sibizgi, Nayi anbon, Chagona, Bulamon,
Trumpet, Flute, Koshnai, Trumpet; Percussion instrument Among them, various levels
of information are given about Daf, Doira, Nogora, Safoil, etc.
Musical instruments have also developed in line with the passage of time and
society's progress, improved and perfected in accordance with the times. In historical
sources, the information such as Qulmuhammad Udi's fourth string on the oud
instrument or the fact that the gijjak instrument first had two strings, then the third and
fourth strings, are related to the improvement of the instruments. In the process of
improvement, the enrichment of the shape and sound criteria of the instruments has
gained great importance. These two criteria served as the basis for determining the
spiritual and material value of musical instruments. Because a beautiful musical
instrument has a beautiful sound, it should be acknowledged that it is the spiritual
wealth and property of the people.
At the end of the 19th century and the 20th century itself, Chang and Kashkar
rubob was formed and took a large place in the performance of the instrument. Oud
and Qonun instruments were revived and significantly enriched the performance
practice. Afghan rubobi and Kurdish sozi also received a well-deserved reputation as
an instrument performer with their unique charm. Information about the definition,
forms, structures, structural aspects, and performers of musical instruments began to
be covered mainly in literary literature and musical treatises since the Middle Ages.
So, by the middle ages, folk musical instruments, which have been formed and
ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
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perfected since ancient times, found their place in performance practice. Abu Nasr
Farabi, Abu Ali ibn Sina, Muhammad Al Khorazmi, Zainuluddin Husayni, Saifiuddin
Urmawi, Abdul Qadir Maroghi, in their treatises, described in detail about musical
instruments and a number of their qualities and characteristics in their treatises. In the
musical treatises written in the Middle Ages, it is possible to see the changes made in
the way of the improvement and development of instruments, the classification of new
instruments created and obsolete instruments. By the second half of the 19th century,
special importance was given to the study of traditional Uzbek musical instruments.
Interest in the culture of the peoples of Central Asia increased in Western countries,
and specialists began to come to study it. The information recorded in the diaries of
traveling ethnographers, historians, coppersmiths such as Marco Polo, Vambery,
Ancomin, Leysek, Eyhgorn were later published in the form of large-scale articles and
books.
National music that our heritage is passed from one generation to another and that
it is taught to the next generation one of the important tools in the process is to deliver
it in its original form. National "Shashmaqom", which occupies a central place in our
musical heritage, comes from a wonderful oral generation. passed down to generations
based on the teacher-disciple tradition. "Shashmaqom" is the first From the
performances of Ota Jalal and Ota Giyos by V. A. Uspensky, not to the current
recording was published". Of course, the notation of "Shashmaqom" is directly the
theory of music it may be necessary to separate from the basics. Play it it is necessary
to know the "language of music". Music theory is scientific and educational is a
complex of sciences, elementary theory of music, harmony, musicality includes such
disciplines as form, polyphony, solfeggio, instrumentation and studies music from a
theoretical point of view. To musical-theoretical sciences harmony, which is a logical
continuation of the elementary theory of incoming music The role of science in musical
performance is very large. Today, there are many Uzbek folk instruments vocal music
performance is well developed, our people are happy It is true that it happened. Behind
these achievements has been qualified since 1936 Uzbekistan is a country that provides
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personnel for the art of Uzbek music Conservatory (original name Tashkent State
Conservatory), 1974- (Tashkent State Institute of Culture) was established in the state
art of Uzbekistan and the Department of "Performance in Instruments" of the Institute
of Culture, all in our republic music and art schools, schools specialized in culture and
art and The service of special lyceums is incomparable.
Even today, a number of musical ensembles are active in our country that we are
making a number of achievements in the field of national music it is worth noting. In
particular, it is national with its exemplary achievements There are many masters from
Andijan who have been making a great contribution to the development of our music
art accomplished the restoration of instruments and the creation of new instruments are
conducting research. Performing arts is a constantly developing process. Musical
education for the development of the musician's performance skills at all stages of the
system assimilation of theoretical and practical knowledge at the required level,
acquired knowledge and it is important that they can form their skills correctly. This
lecture teaching student performance at various stages of the musical education system
we will consider the issues. It is known that learning to play a professional musical
instrument is a school starts from age. The development of the young generation as a
mature musician in the future for him, the knowledge and skills he gets at the music
school are important have In fact, it is his for the building to be strong and serve for a
long time
the foundation should be strong. Music school is also a foundation for a musician
performs its function. The main task of the music school is to train the young generation
in music and from directing to other types of art and from the proper formation of
abilities consists of Here, the children are in relation to our national values and
traditions respect and attention will develop further. Formation of spiritual level,
aesthetic taste starts At first glance, it is a communication with the surrounding people,
a community together with art begins to study the culture of the stage. Regarding his
instrument love appears. Naturally, the development of performing arts is children's
music and the effect on the teaching method and performance practice in art schools
ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
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shows. Today, children are taught in music and art schools the need for new works, i.e.
repertoire, is increasing.
References:
1.
Cholg’u ijrochiligi o’quv qo’llanma. O.I. Karimov. Buxoro 2020
2.
Cholg’u ijrochiligi. O’quv qo’llanma. Ravshan Abduazimov. Toshkent 2018
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Xalq cholg’ulari anatologiyasi. A. Tashmatova. Toshkent 2014
4.
Ijrochilik san’ati tarixi. A. Tashmatova.
5.
RIVOJLANTIRISH VA BU JARAYONDA DUCH KELINADIGAN MUAMMO
MG Akbarova, RZOGL Xayrov - Oriental Art and Culture, 2023
6.
Pedagogical aproaches to the formation of musical literacy of students in the
M Akbarova, G Tursunova, Z Abdunazarov - European
Journal of Arts, 2020
