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O‘ZBEK MUSIC AT THE BEGINNING OF THE 20TH CENTURY
Saidova Dilorom Erkinovna
Teacher of the Department of Preschool Education, BuxDPI
Abstract:
The article describes the creative activity of the great representatives of Uzbek
musical art and the Jadid movement. The press and educational activities of Jadidists are
described.
Keywords:
pedagogue, method, music, ancestor, generation, upbringing, aesthetic, democratic,
art, inner, upbringing, appropriate, society, child, heart, spiritual
The 20th century was marked in history as the century of the most complex socio-political
events in the history of mankind, a century of rapid development of science and technology.
During this period, along with the development of science in Europe, America and Russia,
military conflicts and armaments began to escalate. Therefore, as a result of the colonial
policies pursued by some developed countries in Europe since the 17th century, a number of
countries in Africa, India, Asia and the Middle East came under their control through violent
war, and Turkestan also came under the control of the Tsarist Russian Empire through military
force in the second half of the 19th century.
To satisfy the spiritual and cultural needs of the Russian population and military, various
theaters, performing groups, famous singers and musicians from Europe, Russia and the
Caucasus began to tour frequently. The “Turkestan Musical and Theatrical Society”, founded in
1884, directly devoted its activities to this and played an important role in the wide promotion
of European and Russian musical and theatrical arts in Central Asia. Thus At the same time,
various musical and theatrical amateur and professional groups appeared among the Russian
intelligentsia. Various art groups, libraries and museums were opened in our country, and some
changes began to occur in cultural life.
In such a historical environment, the peoples of Central Asia entered the 20th century. Although
at the beginning of the 20th century the fate of the peoples of Central Asia was connected with
the events, movements and changes that took place in the history of the Russian Empire and
other states, it is known from history that changes in the life of the people were accompanied by
struggles for freedom. Literary works began to be created in the work of poets, opposing
injustice, exposing corruption and breathing the breath of freedom. This, of course, had a
positive effect on the national and spiritual awakening of the people, strengthening their
aspirations for their freedom and independence.
The national liberation movement in Turkestan, which began at the beginning of the 20th
century, revived after the events of 1905. The most important issue was the need to protect
human rights, instill democratic ideas in the minds of the people, and carry out enlightenment
and spiritual work. In this regard, the “Jadid” movement (from Arabic “innovation”), which
was formed in the creative work of enlightened poets, gained special importance.
The founder of the Jadid movement in Central Asia, Mahmud-Khosja Behbudiy (1874 - 1919),
together with the poets who were members of the society: Sadriddin Ayniy, Abdurauf Fitrat,
Tavallo, Abdulla Avloniy, Hamza Hakimzoda Niyoziy, Abdulla Shakuriy and others, came to
an agreement on the goals and tasks set for the Jadid movement.
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N. Karimov describes in detail the main goal and program of the Jadid movement in his article
“What is Jadid?”3. In particular, he cites four main goals of the Jadid movement.
The Jadid idea and movement grew stronger from year to year and became popular among the
local people. Because they reflected the essence of the tsarist policy aimed at the freedom of the
people and national awakening The pens of the Enlightenment poets were sharp, and most
importantly, their poetic and artistic works, their stage performances, singing the freedom of the
people, provided the common people with simple and straightforward information about the
necessity of the freedom struggle and its essence.
In the promotion and practical implementation of the light of enlightenment and a sense of
patriotism, it is necessary to separately mention the work of Abdulla Avloni (1873 - 1934), one
of the leaders of the Jadid movement. In 1904, he opened a new-style Jadid school in the
Mirabad neighborhood of Tashkent, where he himself served as its director and teacher. In 1909,
he founded the "Charity Society" association, which provided assistance to the poor and
orphans. "One of the first in Turkestan, the literary scholar B. Nazarov - Avloni influenced the
introduction of geography, chemistry, geometry, and physics into schools, sought to link
education with real life, introduced a certain break between one lesson and another, an exam
when moving from one grade to another, and paid special attention to strengthening the secular
orientation of the education system. His textbooks "The First Teacher" (1909), "The Second
Teacher" (1912), and the manual "Turkish Rose or Morality" (1912) were popular in their time
was of great importance in educating young people in a new direction and instilling in them the
traditional national spirit. The 5 collections he created, “Literature or National Poems” (1909 -
1916), serve as a manual in schools.
Abdulla Avloni is the author of many poems and poetry collections. Patriotism, enlightenment,
and national-liberation hymns occupy a special place in his poetry. For example, in the poem
“Homeland” (1916), dedicated to children, he puts forward the idea that the greatest and most
sacred concept in the world is the homeland, and that loyalty to the homeland is the
conscientious duty of every person.
In the activities of this movement, it is necessary to recognize the work of the poet, playwright
and literary scholar Abdurauf Fitrat (1886 - 1938). He was one of the founders and leaders of
the Jadid movement. He put forward the ideas of reforming the old school and education in
Central Asia, introducing a new-style Jadid school, sharply criticizing society, especially the
system in Bukhara, and actively participating in various mass movements. The ideas of
enlightenment and patriotism dominated his worldview. In particular, Abdurauf Fitrat's
contribution to the art of music deserves special recognition. In 1921, he founded the Oriental
Music School in Bukhara and became its first director. Along with classical music scholars
(composers and singers), he also invited musicologists such as Viktor Aleksandrovich
Uspensky to the school. From that time on, he led the work of collecting and recording the
melodies of "Shashmaqom".
At the initiative of Fitrat, Ota Jalol Nosirov and Ota Ghiyos Abduganilarda.n Bukhara
Shashmaqom was first recorded and published by Viktor Uspensky (1924). In addition, Fitrat
initiated the science of Uzbek musicology in the 20th century with his articles entitled
“Shashmaqom”, “On Uzbek music” and the treatise “Uzbek classical music and its history”
(1927).
The outstanding poet, playwright, composer and public figure Hamza Hakimzoda Niyoziy
(1889 - 1929) also wrote poems on various topics and forms under the pseudonym Nihony in
the early period of his creative activity.
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wrote. In 1913, Hamza opened a new “Jadid” school in the Kashgar neighborhood of Tashkent.
Between 1915 and 1917, the author created a collection called “National Poems for National
Songs”. The poems he included in the collection under the names “White Flower”, “Red
Flower”, “Pink Flower”, “Savsar Flower”, “Saryg Flower”, “Green Flower” and “Scented
Flower” were widely distributed among the public.
The idea put forward by Hamza in these “National Poems” is of great importance even today,
when Uzbekistan has gained national independence and is struggling for development.
Thus, with the emergence of the Jadid movement, the Tsar faced fierce opposition from the
Russian administration and local authorities and "ancients". Despite this, the ideas and actions
of Jadidism began to grow from year to year and became popular among the local people. In
particular, the Jadid movement and its representatives attached great importance to the
establishment of a new-style national theater, continuing the traditions of literature and art. The
organizer of the Central Asian Jadid movement, Mahmudkhodja Behbudi, was one of the first
to contribute to the development of a European-style national theater. In 1911, he wrote the
play "Padarkush". In 1914, in the amateur theater he organized in Samarkand, this tragic play
was staged by Azerbaijani director Aliaskar Askarov. The performance of "Padarkush" on stage
became a major cultural event. The performance was soon shown in Tashkent, Kattakurgan,
Kokand, Andijan, Namangan, Fergana, and Bukhara.
In general, during this period, music schools were established in our Russian republic in
cooperation with Uzbek and Russian artists, in 1934 the Namangan and Bukhara music schools,
in 1935 the "Uzbek Opera Studio" under the Moscow Conservatory, in 1936 the Tashkent State
Conservatory. In 1920 the Tashkent Russian Opera and Ballet Theater, regional musical drama
theaters, in 1926 the "Uzbek Ethnographic Ensemble" was established under the leadership of
M. Qoriyoqubov, in 1929 The “Uzbek State Musical Drama Theater”, on its basis in 1939 the
“Uzbek State Opera and Ballet Theater” and the “Uzbek State Musical Drama and Comedy
Theater named after Mukimiy” began to operate, and the Uzbek State Philharmonic included
such performing groups as the “Uzbek Song and Dance Ensemble”, “Dutorchi Qizlar
Ensemble”, “Tamara Xonim Ensemble”, “Khorazm Harmonica Girls Ensemble”, “Symphonic
Orchestra”, “Uzbek Folk Instrument Orchestra”, and “Chorus Acapella Team”, which
effectively served in the process of developing modern Uzbek musical culture. In 1938, the
Uzbek Composers’ Union was established, and the People’s Artist of Uzbekistan, the famous
composer Tolibjon Sodikov, was appointed as the chairman of the association. This
organization brings together composers and musicologists living and working in our republic,
and plays a major role in creating modern, new musical works, scientific articles and books, and
promoting music.
The field of composition, which is mainly related to classical and partly folk art, has been
formed and developed over a historical period of about one and a half thousand years. The
lexical meaning of the word “composer” is also significant in understanding a number of its
qualities. According to the definition given by the prominent maqom scholar I.R. Rajabov,
“composer” is a Persian word, which means “one who connects the elements that make up a
melody” (“basta” - connected, “kor” - work, working).
The essence of composition in musical creativity is directly related to the laws of nature. This
implies that the composer creates rhythmic and melodic variants of centuries-old traditional
melodies, as well as introduces new elements and ready-made climaxes into the melody. Artists
who were able to adapt new poems to the lines of the songs also earned the title of composer.
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It is known that composers also wrote on the basis of melody patterns widely accepted in
musical practice, connecting them (melodies) with poetic examples, and creating song paths. In
this case, the artistic tradition - the continuous connection between the old and the new creative
phenomenon - is manifested in the form of ideological and nomadic features adopted and
developed by the creators of the next period. In this process, the talent of composers serves to
demonstrate artistic skill within these traditions, to naturally create new opportunities, and to
reveal new facets of the "familiar" form and style.
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