International Journal of Pedagogics
46
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue02 2025
PAGE NO.
46-48
10.37547/ijp/Volume05Issue02-14
Doira: Traditional Elegance and Rhythm
Turekhanov Farhod
Teacher of the Musical Pedagogy, Uzbekistan State Conservatory, Uzbekistan
Received:
07 December 2024;
Accepted:
09 January 2025;
Published:
11 February 2025
Abstract:
This article analyzes the doira as a musical instrument, exploring its historical roots, structure, and
performance techniques. The doira holds a significant place in Eastern music, particularly in Uzbek and Tajik
traditional art, distinguished by its harmony of elegance and rhythm. The study highlights the role of the doira in
both folk and professional music, the mastery of its performers, and its integration into contemporary musical
contexts. Additionally, the cultural significance of the instrument and the issues surrounding its transmission to
future generations are discussed.
Keywords:
Doira, musical instrument, Membranophone, Autophone.
Introduction:
Music is a universal human behavior and
perception. Knowing the language of music means
understanding the highly complex structure of sound
interpretation rules
—
dividing them into units of time
and explaining their meanings. Understanding musical
expression in unfamiliar traditions can present similar
challenges. Every culture studied by anthropologists
has a specific time frame, with certain musical
behaviors needing to be performed in real-time. The
adaptability of musical information and the diverse
musical behaviors present in different cultures reflect
intercultural differences in melodic and rhythmic
organization and practice.
Based on the information passed down to us, we must
acknowledge the unparalleled role of the doira among
the instruments used to systematically preserve one of
the fundamental elements of music
—
rhythmic
patterns (usul). The doira has become widely popular
among people due to its convenience in expressing
rhythmic patterns and its richness in intricate
embellishments.
The doiras depicted on the pediments of Nisa Fortress,
an ancient monument predating Central Asia,
demonstrate that the initial structure of this musical
instrument was very similar to our modern-day
versions.
This instrument belongs to the percussion family and is
known as "Doyra," "Chirmandi," "Childirma," and "Dap"
in Uzbek and Tajik musical traditions. Among
Armenians, it is called "Dapp," while in Iran and Egypt,
it is known as "Daff." Azerbaijanis refer to it as "Def,"
"Doyre," or "Gaval," and in some Eastern countries, it is
widely recognized under names like "Dabu" and others.
In general, different types of doiras vary in size,
structural components, additional elements, slight
differences in shape, playing techniques, and tonal
characteristics.
According to historical records, the doira, along with
other percussion instruments such as qayroq
(castanets) and zang (bells), was widely used by priests
during oymoma (moon-related) rituals. The depictions
on the pediments of Nisa Fortress indicate that the
doira
was
considered
a
sacred
instrument
accompanying religious ceremonial dances. In some
cases, it was played by the dancers themselves, while
in others, it was performed by designated doira players.
Additionally, the doira has long been an integral part of
various ensembles featuring different categories of
musical instruments and vocal performances.
The influence of dance art plays a significant role in
shaping the solo performance style of the doira. This is
because the process of playing the instrument is closely
linked to expressing the beauty of movement, charm,
grace, and gestures
—
all of which are intrinsic to our
cultural traditions
—
through rhythmic patterns.
Moreover, for a doira performer, mastery goes beyond
simply creating and skillfully executing diverse
rhythmic sequences. It also requires an understanding
International Journal of Pedagogics
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https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
and deep appreciation of traditional dance art. In
compositions formed from intricate and rhythmically
diverse dance sequences, the ability to transition
smoothly and logically from one rhythm to another is a
key aspect of doira performance mastery.
Additionally, doira players play a crucial role in the
creation, adaptation, and staging of new dance
performances accompanied by this instrument.
The necessity of notating the rhythms played by master
doira performers arose to preserve them accurately.
Initially, doira notation was written on a single line,
successfully recording many traditional rhythmic
patterns. Later, various notation systems were
developed, allowing for the detailed representation of
each hand movement with separate notes.
To facilitate doira education, instructional books with
notation were published, including the "Doyra Darsligi"
(Doira Textbook) for music institutions. Notably, the
doira was also incorporated into Uzbek symphonic
music, finding a place in symphony orchestras. Several
composers highlighted the instrument in their works,
such as M. Tojiev in his 11th Symphony, T. Qurbonov in
"To‘yona" and "Askiya", and S. Jalil in "Tashkent
Landscapes."
By the late 1990s, there was a renewed focus on
traditional performance practices. Many academic
lyceums and colleges introduced specialized programs
for traditional music, attracting large numbers of
students. Today, many students continue to study
traditional
doira
performance,
supported
by
educational materials adapted to heritage instruments.
Among these publications is "An’anaviy Doyra
Ijrochiligi" (Traditional Doira Performance) by
Rahmatilla aka Samadov, a docent at the Uzbekistan
State Conservatory and a leading instructor in the
Department of Traditional Performance. This book was
distributed to music institutions to support doira
education.
In Central Asia, various types of drums have been
widely recognized and used, including tabira, al-tabra,
one-sided drum, chindoul, doul-
paz, and katta nog‘ora
(large drum).
If we examine percussion instruments based on their
original meaning, the word "Zarb" comes from Arabic,
meaning "to strike" or "to hit." These instruments
primarily produce sound through striking, tapping with
fingers, shaking, and other similar actions.
As sound-producing elements, these instruments can
utilize either a special membrane (drumhead) or the
div (resonator) of the instrument itself. Based on this
characteristic, they are divided into two types:
Membranophone (drumhead) instruments include
those covered with special leather or plastic, such as
the baraban (drum), nog‘ora (kettle drum), do
ira
(frame drum), tom-tom, timpani, and various other
types.
Autophone (self-sounding) instruments produce sound
through their own div without the need for a
membrane. These include various cymbals (jaras),
castanets (qayroq), triangle (safoyil), and other similar
instruments.
From a performance technique perspective, percussion
instruments can be played using sticks, fingers, by
striking them against each other, or by shaking.
Additionally, they are classified into low, middle, and
high registers based on their pitch range.
The doira is a percussion instrument rich in rhythmic
and dynamic possibilities, played using all fingers of
both hands as well as palm slaps. Over time, the doira
has undergone some modifications compared to
ancient depictions. For instance, older versions
featured small holes in the rim for attaching jingles,
whereas modern doiras have metal rings, called
"shing‘iroq," suspended from the inner side of the
frame.
The doira is widely known by different names across
various cultures. Among Uzbeks and Tajiks, it is called
"doyra," "chirmanda," "childirma," or "dap." In Iran and
Egypt, it is known as "daff," while Azerbaijanis refer to
it as "def," "doyre," or "gaval." Among Turkmens, it is
called "deprek," and in some Eastern countries, it is
known as "dabu."
The rhythmic system of the doira has been established
since ancient times, with masters using specific
terminology such as "bum," "bak," "bakko," or "bakka."
In Khorezm, these sounds were referred to as "gum,"
"taq," "taqqa."
"Bum" produces a lower-pitched sound, created by
striking the center of the doira with four fingers
together.
"Bak" is a sharper sound, played by striking near the rim
of the doira with the fourth finger.
These rhythmic terms have been mentioned in ancient
sources, including Khorezmian tanbur notation. By the
mid-19th century, doira rhythms began to be notated
on a single line, with "bum" written below the line and
"bak" above it.
Historical records indicate that the doira was played
alongside other percussion instruments such as qayroq
(castanets) and zang (bells) in sacred ceremonies
conducted by priests. Illustrations from Nisa depict the
doira as an accompanying instrument for ritual dances,
performed either by dancers themselves or by
designated doira players. Over time, the doira has also
International Journal of Pedagogics
48
https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
been widely performed in various instrumental and
vocal ensembles.
REFERENCES
Karomatov, F. (1987). Fundamentals of Uzbek folk
music. Tashkent: Fan.
Sagdullayev, A. (2001). Musical instruments and their
history
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development.
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Encyclopedia of Uzbekistan.
Jabborov, A. (2015). Main features of circle
performance. Tashkent: San’at.
Usmonov, O. (2003). Uzbek folk instruments: history
and development. Tashkent: Ma’naviyat.
Djumaev, A. (2012). Rhythms of Central Asia: A Study
on Traditional Percussion Instruments. Cambridge:
Cambridge University Press.
