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HISTORY AND STAGES OF DEVELOPMENT OF UZBEKISTAN MUSICAL ART
AND MUSICAL DRAMA
Farkhod Farmonov
Uzbekistan state institute of arts and culture,
associate professor of the department of
“Musical theater Art”
Annotation:
This article provides detailed information about the history and stages of
development of Uzbek musical art. In addition, it presents opinions on the role and
importance of musical art in the development of Uzbek music.
Кey words:
Music, theater, a musical drama, scene, song, makam, genre, art.
In Uzbekistan, a new opportunity is being created to further rival the art and culture of music.
One of the important tasks is to look for talents in different areas of music culture, to be
creative in order to impose their creative activity, one of the important tasks is to increase the
spiritual level of our people, to educate the younger generation in the spirit of high human
ideas, love and devotion to the motherland, and the role and importance of After all, it is an
important task to restore the traditions of musical performance of the past, preserve them in
modern conditions, show Uzbek national musical works and tunes in foreign countries,
compose new traditions in music education, preserve and convey the spiritual heritage of the
people to the next generations, analyze the place of musical culture in the life of society.
The musical heritage of the Uzbek people has a rich tradition and an ancient history. It is
known from practice that it developed over time, on the basis of folk music and classical
music. The art of music is revered as one of the criteria that determine the spiritual wealth,
aesthetic worldview and future maturity of mankind. National traditions, customs,
ceremonies and values of each people are worthy of place in it. It is well known that music
performance is a lively process of folk music culture that takes shape and develops. Its
exponents, musicians, singers and composers, have been revered as specific figures of folk
culture. Historical problems have also been mentioned in past treatises. Notable examples
include Abu Nasr Farabi's "Great Book of music", Zainullobiddin Husayni's "Science of law,
practice music", Abdurahman Jami's "treatise musical", Alisher Nawai's "Majolis un-nafois",
Darvesh Ali Changi's "musical treatise". The scope of works created during the time of the
former Union on the topic of the history of music culture is extremely wide. Valuable
information was given about the penetration of Shashmakom into the territory of the Khiva
Khanate, about the efforts of Muhammad Rahim Khan Feruz to narrate the art of music.
Under the patronage and guidance of poet, composer and musicologist Muhammad Rahim
Khan Feruz (1846-1910), who stood at the top of the government from 1864 to 1910, the
status of Khwarezm six and a half was reduced to a letter as a whole complex. By the 20s of
XX asing, a unique talent, zakiy poet, lyricist and musicologist, hand flower artist
Muhammad Komil Devani (1887-1938) continued the work of his predecessors, adding to six
and a half statuses (Tanbur statuses)of dutor, the more ancient layer of Khorezm classical
music, by means of the same note writing. This find of great historical and scientific
importance of khwarezmian musicologists is one of the gilded pages of the history of Uzbek
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music. The rediscovery of tanbur's drawings in his time is evidence of the rise to a new level
of modern Uzbek statecraft.
In the following years, the path to serious research in the field of comatology was opened.
Representatives of the new generation, relying on modern science, began to take the field.
Among them, the names of the navqiran Maqam teacher Rustam Boltaev and the
musicologist Botir Rahimov can be noted. They spent many years of scientific and magical
research on the drawings of Khwarezm tanbur and were able to turn the texts of the notes in
these inscriptions into a modern system of taqt and restore their performances. In particular, it
will be close to the people who have just left the people. The ceremonies, processions, and
songs addressed to the seasons were the musical base of the musical drama. The fact that the
long-standing traditions of musical art were formed and developed in the culture of the
peoples of the East, as well as creatively influenced all mankind, has proven itself in science.
Abdurauf Fitrat's contribution to the history of Uzbek national music culture is also
significant, and the author's works and articles on this issue describe Uzbek classical music,
its styles and their differences from Turkish, Arabic, Persian music, analytical feedback on
the theory of "Oriental music" and its foundations. The subtle qualities of creativity, in
particular the aspects inherent in the melodies and songs of the elites, often remain outside
theoretical views. Additional information, therefore, provides the opportunity to create a
broader and more ambient impression of a musical letter of a given period, complementing
theoretical law and order in the study of past history, even if garchan has secondary
importance in relation to the main musical treatises.
In the processes of life development, it is not difficult to advance from the scope of
contemporary musical art, while the peculiarity of Western culture has matured. On the basis
of this, it is necessary to recognize that such criteria as the passing of stages of generalization
of the art of music and its internal elements at the level of professionalism, harmonization of
proportional sound curtains in the process, as well as all-fold acceptance, have led to the
harmonization of the art of Universal Music. As a result, there were attitudes in musical
creativity such as striving for Western musical art, impersonating, following their culture.
Thanks to this, in 1920 Tashkent Russian opera and Ballet Theater, regional musical drama
theaters, in 1926 M.On the basis of the "Uzbek ethnographic ensemble", which was founded
under the leadership of karyakubov, the "Uzbek state musical drama theater”, which came to
bunyod in 1929, the "Uzbek State opera and Ballet Theater” and the Uzbek state musical
drama and comedy theater named after Muqimi began to operate on its basis in 1939. Also,
as part of the Uzbek State Philharmonic, such performing teams as "Uzbek singing and
dancing ensemble", "Dutorchi girls ensemble", “Tamarakhonim ensemble", "Khorezm
harmonchi girls ensemble", "Symphony Orchestra", "Uzbek folk instruments orchestra",
"choir akapella team" effectively served in the process of developing modern Uzbek musical
culture. Uzbek national musical art has gone a long historical path. In particular, in the late
19th - early 20th centuries, depending on scope, performance tracks, shakari, murakabili,
traditional musical art was divided into professional musical works (Maqam, big chants,
epics) and folk tunes (lapar, yalla, singing, chanting). At the beginning of the 20th century,
the art of Uzbek music was treated with special attention. In the early years of the XX century,
the political and social and cultural environment in Uzbekistan itself is characterized by the
conditions of renewal. Of particular importance in Central Asia is the jadidism movement,
great figures and their creative activity. In this, the arrival of European-style national theatres
in the building also took its toll. Of particular importance in this are the creative activities of
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such figures as Mahmudhaja Behbudiy, Sadriddin Ayniy, Abdurauf Fitrat, tavalla, Abdullah
Avlani, Hamza Hakimzoda Niyazi and Abdullah Shakuri.
It can be seen that during this period, the activities of the Uzbek people of musical art figures
developed in two directions. The samples of classical music are mainly created by mature
hofiz, musicians and composers, and due to the complexity of its genres and performance
traditions, the art of statecraft and epic performing styles, schools are distinguished. Uzbek
folk classical music has a special place among other peoples in its excellence and complexity.
Art has long developed in connection with religious, mythical visions of the construction of
the world. From the primitive period to today, images in art have developed in many cases,
serving as a kind of amulet, intended not only to the human spectacle as a sign of evil and
goodness, but also to evoke a pleasant mood and pleasant thoughts in the mythical gods.
Protection has gone through several stages on the basis of its development, experiencing the
transformation of various images of a person.
Today, new opportunities are being created for the further development of musical art
and culture in Uzbekistan. One of the important tasks was to seek out young talents in various
directions of musical culture, to take care of the promotion of their creative activities. "The
role and importance of the art of music in raising the spiritual level of our people, educating
the younger generation in the spirit of high human ideas, kindness and devotion to the
motherland, maturing on the basis of national and universal values is incomparable." After all,
it is an urgent task to restore the traditions of musical performance of the past, preserve them
in modern conditions, show Uzbek national musical works and tunes in foreign countries,
compose new traditions in music education, preserve and convey the spiritual norm of the
people to the next generations, analyze the place of musical culture in the life of society.
The fact that the long-standing traditions of musical art were formed and developed in
the culture of the peoples of the East, creatively influenced the whole of mankind in ham,
found its positive in science. Also, the KHAM contribution of Abdurauf Firat in the study of
the history of Uzbek national music culture is significant, and the author's works and articles
on this issue describe Uzbek classical music, its styles and their differences from Turkish,
Arabic, Persian music, theory of "Oriental music" and its rationale. Musical treatises, as a
rule, are aimed at a theoretical direction, and in them the general law-rules are laid out in an
abstract mathematical language. The subtle qualities of creativity, in particular, the
juxtaposition characteristic of the melodies and songs of the El - elats, koladi in tashari from
the kupincha theoretical Karash.
Uzbek national musical art has gone a long historical path. In particular, in the late
XIX - early XX centuries, the scope was wide, depending on the ways of performance, forms,
complexity, traditional musical art was divided into professional musical works (status, large
singing, epic) and folk songs (lapar, yalla, song, singing). At the beginning of the 20th
century, the art of Uzbek music was approached with special attention. In the early years of
the XX century, the political and social and cultural environment in Uzbekistan itself is
characterized by the conditions of renewal. Of particular importance in Central Asia is the
jadidism movement, the great manifestations and their creative activity. In this, the arrival of
European-style national theatres in the building also took its toll. Of particular importance in
this are the creative activities of such exponents as Makhmuduja Behbudiy, Sadriddin Ayniy,
Abdurauf Fitrat, tavalla, Abdullah Avlani, Hamza Hakimzadeh Niyazi and Abdullah Shakuri.
From this it can be seen that during this period, the activities of musical art figures of the
Uzbek people developed in two directions. The samples of classical music are mainly created
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by mature hofiz, musicians and composers, and due to the complexity of its genres and
performance traditions, the art of statecraft and epic performing styles, schools are
distinguished. Uzbek folk classical music has a special place among other peoples in its
excellence and complexity. The largest east of classical music is statuses. The maqams
existed in three oases of Uzbekistan and were referred to as “Shashmaqom" in Bukhara,
"Khwarezm maqams" in Khwarezm, "Farghana - Tashkent Maqam roads" in the Ferghana
Valley. In addition, on the roads of the maqams, the circle of shaklan and Rovi characteri is
characteristic of the maqams, there are “Suvoras, great chants, Sumay Maqam roads, Dutor
maqamas, as well as instrumental paths.
Statuses occupy a very important place in the musical heritage of Eastern peoples as one of
the genres of music that existed from very ancient times. In his time, the palace of the Emir of
Bukhara was viewed with great interest in statuses. Amir Said Olimkhan held a high regard
for Maqam music, being himself a prodigy in playing dutor. According to tradition, talented
children were selected from among folk musicians in the emirate and put into the hands of
experienced musicians. For example, the fact that the famous masters of status of Bukhara
were educated at the hands of court musicians such as Master Shadi Azizov, Bobokul
Fayzullayev, Shonazar Sokhibov is evidence of our opinion. Certain variants of classical
music also arose in Tashkent and the Fergana Valley. The route was mostly made up of large
singing trails. Ashurali Hofiz, Mirza Kosim Hofiz, Mominjon Hofiz, Muydin Haji,
Berkinboy Fayziyev, Mulla Toychi Toshmukhammedov, Ganijan Mirzayev, Zhurakhan
Sultanov, Mazharzhan Farzov, Turgun Karimov were skilled performers in this direction.
Local performing schools were also formed in the Fergana Valley, among which performing
schools such as Kokand, Margilan, Beshariq in particular were very popular in their time.
In the late 19th - early 20th centuries, the Khorezm Oasis was much more famous in Uzbek
musical art for its performing and singing traditions. In Oasis, Maqam performance
developed within the epic paths, folk Mass songs their own directions. During this period,
famous composers such as Kamil Khwarazmi, Muhammad Ravikhan Feruz, Niyazikhan
Khoja were created in Khwarazm. At the beginning of the 20th century, amateur jadidlaming
movements and national theaters were formed in almost all cities of Turkestan. During the
period 1911-1917, about 20 plays were written. K."Wedding" of nusratillayev, "unfortunate
groom" of Abdullah Qadiri, "old and New School" of Khoja Muin, A.Baudry's" foolish "
Presas were created during this period. Well, in the late 19th and early 20th centuries, the
Turkestan, Bukhara emirate and Khiva Khanate experienced significant changes and updates
in the art of music.
European music connoisseurs focused on studying and notating classical music and folk oral
samples in the emirate of Bukhara and Khiva Khanate, collecting folk musical instruments. In
the cities of Turkestan, musical societies were formed and amateurs were involved. Such
cases as the study of Uzbek folk songs by Russian musical connoisseurs, their notations, their
publication in the Foreign Press made a worthy contribution to the development of musical
art in its time. At the moment, the implementation of the necessary measures to preserve the
traditions of Uzbek musical art in the Bukhara and Khorezm area and in the Fergana Valley
serves as a reflection of the traditions of Uzbek classical music. Currently, when describing
Uzbek musical drama, we must admit that it is a kind of complex art. After all, it is not a
saying that a musical drama has yet been created, even if the literary text is ready. Man
shoots at the composer's discretion. The result is a recording of music based on the idea of the
work. A national musical performance is born in the harmony of individual art examples -
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text, music, stage decoration, dance performances, stage interpretation and performance. In
this, the refissor, the compiler, the concertmaster, the baletmaster, the service of the artists are
begiyos. Hence, musical drama is an example of an art that is formed on the basis of literary
text, music, and stage interpretation. These components are created individually by the
creators, and the goal is achieved only if one goal, the director-postman, serves the idea
thought of.
Consequently, musical drama consists of three components that develop in close connection
with text, music and stage interpretation. "We think,
musical drama is a scenic, musical-dramatic genre that develops on the basis of musical
tearooms and national literary - artistic norms, which, thanks to a stage interpretation, is
formed by an equal passage of music with an artistic word, has its own historical path, style,
tasks, discovered an inner Jari turlami in the direction of drama, tragedy and comedy. From
practice, it is known that the best examples of the genre of musical drama are manifested in
such a connection as a full-fledged play and its musical interpretation, staging skills
(directing, derailment, stage decoration, baletmeister, chormeister), the ability and
professional knowledge of the creators of the play, the illumination of their ideas in a specific
style. In the event of failure of one of the branches, the Uzbek musical drama play will fail.
So is the uniqueness of this genre. Indeed, it is this text, melody, stage interpretation that
makes it seem that the role of acting art is significant in a performance created by Harmony.
Already, depending on the skill of the actor, a musical drama performance is assessed. To
what extent the skill of a musical theater actor is organically manifested in the transition from
dialogue or monologue to a vocal part, or, conversely, in the transition from musical to
colloquial. The position of the actor on the stage, in the interpretation of his hero, should
flaunt himself, natural emotions, not artificial passions.
Of course, the role of Uzbek artistic culture in the development of the new Uzbek Theater, in
particular in the formation of musical drama as a genre, is fragmented. Elements of musical
drama were found in ancient times in the tones of dance, singing, singing, which were played
in ritual games, Pentecostals. The new formation on the stage by lapars, sayings, big singing
artists, which arose from specific examples of folk oral witchcraft, served as the basis of
musical drama, was one of the first successful steps in the formation of the genre. In
particular, it will be close to neki boron Hal, who left the people.
While early elements of musical drama were manifested in folk epic, masharaboz, curiosities,
puppeteers showed a harmony of text , melody, and dance in theatrical performances. This
was the first manifestations of the new genre, which firmly relied on existing sources in folk
art, embodied its century-old culture, aesthetic taste.
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2. Tursunov T. Scene and time. T: new century generation 2007
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