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SKILLS OF PERFORMING WORLD CLASSICAL WORKS ON
UZBEKISTAN FOLK INSTRUMENTS
Shermatov Komiljon Erkinovich
Associate Professor of the Department of Instrumental Performance, Uzbekistan
State Institute of Arts and Culture, Uzbekistan
https://doi.org/10.5281/zenodo.15580984
Abstract
: This article analyzes the issue of forming the skills of performing
world classical music works on Uzbek folk instruments. Interpreting works
belonging to the world musical heritage on national instruments such as tor,
doira, dutor, gijjak plays an important role in developing performing skills.
During the research, methods of adapting classical works to the capabilities of
folk instruments, performance techniques, timbre and dynamics are studied in
depth. Also, the possibilities of developing a creative approach and musical
thinking in musicians through the interpretation of world music samples in the
modern performance practice of Uzbek folk instruments are considered.
Keywords
: classical music, folk instruments, performing art, musical
interpretation, dutor, gijjak, pedagogical approach, performance technique,
musical thinking.
Introduction
.
Music is one of the types of art that penetrates the most delicate layers of
the human psyche and expresses inexpressible feelings. The musical heritage of
each nation is a wealth that embodies its cultural memory, spiritual world and
historical identity. World classical music is a high artistic school that combines
masterpieces of universal art, has its own style and methodology. In this regard,
the performance of world classical works on Uzbek folk instruments is becoming
an invaluable tool for creating not only technical, but also aesthetic and cultural
bridges.
In today's globalization process, the increasingly deepening dialogue
between different cultures is also reflected in music. Interpreting classical music
works through national instruments such as tor, dutar, gijjak, rubab - on the one
hand, expands the skill of the performer, and on the other, further enriches the
expressive capabilities of folk instruments. It is through this musical harmony
that we find aesthetic commonality between different cultures, and, along with
the realization of our own identity, we assimilate the world's musical thinking.
The timbre richness, emotional depth, and expressive power of Uzbek folk
instruments allow for the harmonious transmission of the spirit of classical
works. However, this performance approach requires not only technical
perfection from the musician, but also deep aesthetic taste, cultural awareness,
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and analytical thinking. Therefore, this article provides a deep scientific and
practical analysis of the skills, methods, and approaches necessary for
interpreting examples of world classical music through Uzbek folk instruments.
World classical music is a complex and multifaceted artistic phenomenon
that embodies the highest examples of baroque, classicism, romanticism, and
modern musical thought. The works of the representatives of this artistic school
- Y.S. Bach, V.A. Mozart, L. Beethoven, F. Liszt, P. Tchaikovsky, K. Debussy, and
other composers - are distinguished by a universal compositional structure,
complex harmonic language, and deep emotional expression. Therefore, their
instrumental interpretation requires a high level of performing skills.
Uzbek folk instruments - tor, dutor, gijjak, rubob, doira and other traditional
instruments are distinguished by their unique timbre, resonance characteristics,
macro- and microintonation capabilities. They are adapted to vocal-based
musical expression and have an improvisational nature. Therefore, the process
of performing world classical works on these instruments raises a number of
scientific and practical problems.
First, there is the problem of adaptation. The original scores of classical
works are often written for piano, violin, cello, or symphony orchestra. When
adapting them to folk instruments, compositional and technical approaches such
as transcription (translating the work into instrumental form), arrangement
(rearranging the instruments), and ornamentation (decorating) are used.
Secondly, there is the problem of performance technique. For example,
since the range of the dutor or string instruments is narrower than that of the
piano, methods such as octave transposition and synthesized expression (i.e.,
performing the functions of several instruments on one instrument) are used to
preserve the melodic line. At the same time, during the performance, parameters
such as phraseological articulation, timbre dynamics, and rhythmic intonation
must be developed to the extent that they correspond to the interpretation of
the classical text.
Thirdly, internal competencies such as musical thinking, stylistic intuition
and interpretative competence (the ability to creatively interpret) that depend
on the performer's personality are of great importance. Because classical works
performed on folk instruments are not always expressed in their original form,
but rather through the emotional and aesthetic interpretation of the performer.
This requires the performer to understand the musical context, convey the
ideological and emotional load, and combine technical capabilities with aesthetic
accuracy. Uzbek folk instruments have the ability to interpret many examples of
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world classical music in a national style. The pedagogical approach also plays an
important role in this. By introducing classical works into instrumental
performance classes in the music education system, it is possible to form
students' performance skills, musical sense, aesthetic taste and cultural thinking.
Literature analysis (review):
The issue of interpreting world classical music works based on national
instruments has been considered in various theoretical and practical aspects in
the scientific research of many foreign and domestic researchers. In particular,
the works of Russian music theorists such as G. Shenkman, L. Mazel, M.
Arkadyev cover the methodological foundations of interpreting works based on
the analysis of the classical compositional system, harmonic language and
musical form. In their opinion, the correct understanding of the semantic layers
of the musical text in the performance of classical works serves as the
foundation for performance interpretation.
In Uzbek musicology, there are many studies on the performance
capabilities of folk instruments and the history of their development. In
particular, the works of scientists such as A. Rajabov, R. Abdullayev, D. Yusupov,
M. Nazarov analyze the technical and timbral characteristics of instruments such
as dutor, gijjak, rubob and tor, their functional role in maqom and folk melodies.
However, these studies did not specifically study the issue of performing world
classical works on folk instruments, which indicates the scientific novelty of this
topic.
In addition, international studies on the interpretation of classical works on
other national instruments, for example, the experiences of performing Vivaldi's
works on the Chinese pipa and interpreting Bach's preludes on the Indian sitar,
show the possibility of folk instruments approaching universality. These studies,
in particular, suggest the need to identify a new interpretative role for folk
instruments and reassess them in modern performance practice.
From a pedagogical point of view, the works of such scholars as A.
Zeyniddinov, N. Mamatkulov, Sh. Ergashev in music education put forward the
principles of a compositional approach, creative thinking and increasing the
aesthetic level in the formation of performance skills. However, these
approaches are not sufficiently focused on the methodology of teaching the
classical repertoire on folk instruments.
In general, an analysis of the existing literature shows that the issue of
expanding the performance capabilities of folk instruments and harmonizing
them with the world musical heritage has not yet found its full scientific solution
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in Uzbek musicology. Therefore, this article attempts to approach this problem
based on a modern methodological approach and to determine the potential of
folk instruments in the interpretation of classical works.
Discussion
:
The issue of performing world classical music on Uzbek folk instruments
has multifaceted musical, performance and pedagogical aspects, and any
experience in this direction should be analyzed from the point of view of
musicology, performing arts and national intercultural integration. During the
study, it was found that the process of interpreting classical works on folk
instruments includes such complex stages as performance transformation,
stylistic adaptation and musical interpretation.
Firstly, in the process of adapting world classical works to the capabilities
of folk instruments, methods such as simplification of the compositional
structure, transposition by range, localization of rhythmic complexity are used.
This process allows you to adapt the performance forms to the nature of
national instruments, while preserving the ideological and emotional content of
the work. In particular, the timbre and resonance properties of instruments such
as dutor and tor become an important tool for expressing emotional
components of the work, such as lyricism, dramatism or expressiveness.
Secondly, the performance of classical works on folk instruments requires a
high level of stylistic sensitivity, intonational control, emotional delivery, and
phraseological thinking skills from the performer. In this case, the performer
must be able to understand not the external form of the musical text, but its
internal content, musical idea, and reflect it in his interpretation. This, in turn,
requires the development of individual competencies such as musical thinking,
aesthetic empathy, and creative reflection.
Thirdly, during the performance process, there is a need to use the specific
performance techniques and expressive means of folk instruments
appropriately. For example, the technical capabilities of string instruments such
as vibrato, glissando, and portamento serve to express expressive phrases in
classical works in a national style. At the same time, it is important to combine
the intonation turns and modal variability elements characteristic of maqom
music with the classical harmonic system.
The analysis shows that the performance of world classical music on folk
instruments not only opens up new performance opportunities, but also
deepens musical dialogue between cultural contexts. This process expands the
functional scope of national instruments in the context of musical globalization,
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serves to turn them into universal performance tools. However, due to the fact
that performance methodology, pedagogical programs and transcription
foundations have not yet been sufficiently developed in this area, there is a need
for systematic scientific and methodological research.
Therefore, this problem should be studied not only within the framework of
musical practice, but also on the basis of an interdisciplinary approach - at the
intersection of music theory, performing arts, musical pedagogy and cultural
studies. This will serve as an important factor in the mutual enrichment of
musical heritage, ensuring the competitiveness of Uzbek folk instruments on the
modern stage, and expanding the aesthetic outlook of musicians.
Conclusion
.
The final analysis shows that the art of performing examples of world
classical music on Uzbek folk instruments requires a new approach in modern
performance practice, namely, relying on such conceptual foundations as
intercultural integration, stylistic synthesis and functional interpretation. This
process not only improves technical performance skills, but also develops the
aesthetic thinking, musical sensitivity and creative competence of the performer.
Uzbek folk instruments - dutor, tor, gijjak, rubob, doira and others - with
their timbre richness, emotional height of expressive means, and intonation
system specific to the maqom, allow interpreting world musical works in the
national spirit. However, in order to fully express the essence of classical works,
it is necessary to carry out the necessary adaptation work on the performance
range, articulation capabilities and intonation sensitivity of the instruments.
At the same time, the stylistic reconstruction of the musical text in the
performance process, that is, its reinterpretation with the means of expression
of national instruments while preserving the ideological, dramatic and
emotional content of the classical work, is considered the most important
creative task. This requires the performer to have complex musical
competencies - deep knowledge of music theory, musical thinking,
phraseological intuition, emotional differentiation and technical sophistication.
The results of the study show that the following scientific and practical
principles are important for the formation of effective performance skills in this
area:
Adaptive approach - adaptation of classical works to the technical and
timbre capabilities of folk instruments;
Methodological integration - development of systematic methodologies for
teaching the classical repertoire based on folk instruments;
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Creative reconstruction - reinterpretation of classical works based on
national aesthetic criteria;
Aesthetic competence - revealing the ideological depth of a work through
the development of the performer's musical and emotional maturity.
In conclusion
, the process of performing world classical works on Uzbek folk
instruments is not only an aesthetic bridge between musical heritages, but also a
relevant direction that serves to discover new expressive aspects of performing
art. This approach expands the possibilities of folk instruments, ensures their
place in the modern musical space, and enhances the artistic and aesthetic
potential of performers.
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3. Ergashev Sh. Music education methodology. - Tashkent: "Teacher", 2009. - 192
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4. Zainiddinov A. Music and spirituality. - Tashkent: Turon-Iqbal, 2007. - 136 p.
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