ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 6 / UIF:8.2 / MODERNSCIENCE.UZ
1315
FERGHANA-TASHKENT STATUS ROADS ARE AN IMPORTANT GROUP OF
STATUS ART
Orazalieva Raziya Ramanovna
teacher of Karakalpak State University named after Berdak
https://doi.org/10.5281/zenodo.8099832
Abstract.
This article talks about Fergana-Tashkent status roads, an important group of
status art, local performance traditions.
Key words:
Kashkarcha, Sokinoma, Wild Ushshaq, Bayot I-V, Chorgoh I-V, Gulyor-
Shahnoz, Dugoh-Husayni.
СТАТУСНЫЕ ДОРОГИ ФЕРГАНА-ТАШКЕНТ ЯВЛЯЮТСЯ ВАЖНОЙ
ГРУППОЙ СТАТУСНЫХ ПРОИЗВЕДЕНИЙ ИСКУССТВА
Аннотация.
В этой статье рассказывается о статусных дорогах Фергана-
Ташкент, важной группе статусного искусства, местных традициях исполнения.
Ключевые слова:
Кашкарча, Со кинома, Видушак, Бает И-В, Моргах И-В, Гюлер-
Шахноз, Дугах-Хусаини.
In Uzbek classical music, "Fergana-Tashkent statuses" or "Fergana-Tashkent statuses" are
another main form of status art. In the Fergana Valley in the 19th and 20th centuries, the songs
and musical instruments with and without series were widespread, they took the leading place in
the oasis classical music heritage, and were infused with local performance traditions.
The Ferghana-Tashkent maqam song and instrument tracks, which have a large and small
series, are close to a number of branches (sarahbor, savt), branches (kashkarcha, sokinoma) and
series (the melodic movement of ulaming) in "Shashmaqom", similar in form, methods). Fergana-
Tashkent status and status roads make up a series of 2, 3, 5 and 7 parts. Each of them has certain
branches and is separated from each other by means of numbers.
Among the Ferghana-Tashkent maqams, there are large series of hymns: Bayot I-V,
Chorgoh I-V, Gulyor-Shahnoz, Dugoh-Husayniy I-VII (each part of the ulam is designated by
general numerical numbers, except for the Gulyor-Shahnoz maqam), for example, Bayot 1, Bayot
2, Bayot 3, Bayot 4, Bayot 5. Major status among instrumental tracks (performed by soloist or
instrumental ensemble); Chorgoh I-V; Miskin I-VII, Nasrullayi I-III, Navrozi novice songs I-III;
Hajiniyaz I-II, Sumai status roads, etc. In addition to these, separate vocal and instrumental maqam
works, as well as mature musicians and composers, were created in proportion to the branches and
branches of "Shashmaqom" on the basis of songs, kata songs and instrumental tracks specific to
the Fergana Valley.
For example, Wild Pasture, Wild Ushshaq, Wild Tanovar (singing and musical tracks),
Desert Iraq, Tashkent Irogi, Kokan Irogi, Samarkand or Haji Abdulaziz Ushshogi, Tashkent or
Mulla To 'ychi Ushshogyi, Khojand or Sodir Khan Hafiz Ushshagi and others.
Ferghana-Tashkent statuses were formed in the melody, methods and forms of the
branches, branches and taronas of the "Shashmaqom" singing department and developed based on
the movement of the singing track. The first part is based on Sarahbor, the second part is based on
his tarona or prose, the third part is savat, the fourth part is kashkarcha and the fifth part is based
on sokinama or ufar. Bayot, Chorgoh and Dugoh-Husayni maqoms were created on the basis of
the branches of "Shashmaqom" named by these names ("Navo" and "Dugoh" maqoms), and
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 6 / UIF:8.2 / MODERNSCIENCE.UZ
1316
Gulyor-Shahnoz are branches of different maqoms ("Segoh" and " "Rost" status) (five parts of this
status have their own names: Gulyor, Shahnoz, Chapandozi Gulyor, Ushshaq and Ufari Gulyor).
Gulyor-Shahnoz status is fundamentally different from other categories in terms of its structure.
But Gulyor-Shahnoz's branches are more complex in terms of content and style, original songs of
status. They are full of attractive, pleasant and impressive tones.
The series "Chorgoh" maqam consists of five parts and was created based on the Dugoh
maqam branches of "Shashmaqom". Chorgoh 1, with its splendor and pleasantness, was created
as a form of Dugoh sarahbori melody; but the development of the melody was shortened and
certain changes were made to it. From the beginning to the climax (Muhayyari Chorgoh style is
preserved) the direction and movement of the melody is similar to that of the leader (the circle
method, tempo, and weight of the poem are preserved). Chorgoh 2 is a variant of Chorgoh style in
Tarona style. Chorgoh 3 – It is said based on Chorgoh savtis, but its circle method and shape is
simplified. Chorgoh 4 – Chorgoh savti is in the form of khashkarsha, and the theme, shape and
circle method of the melody have been preserved. Chorgoh is in the 5th circle method, and its pace
is much slower. But the performance style is characterized by its uniqueness.
Chorgoh maqam series is shortened from the branches of "Shashmaqom" adapted to the
valley performance style (it becomes clear by the movement and development of the melody, the
absence of the use of chords, the shortening of climaxes or the use of method options).
Ferghana-Tashkent maqams are widespread in traditional performance, and new versions
of the ulam have been created by Uzbek composers, including Chorgoh VI (in the style of ufar)
and Dugoh-Husaini VII-VIII (in the form of ufar and suporish) to Yunus Rajabi's work. belongs
to Fergana-Tashkent Haji Abdulazaz Abdurasulov, Sodirkhan Hafiz Bobosharipov, Yunus Rajabi,
Abdugadir Ismailov, Jorakhan Sultanov, Ma'murjon Uzokov, Imamjon Ikramov, Arifkhan
Hotamov, Rasulqori Mamadaliyev, Ochilkhan Otakhanov, Abduhoshim Ismailov, Mahmudjon
Tojiboyev and others were promoted in the promotion of their status. They greatly contributed to
enriching them and creating new models.
REFERENCES
1.
Abdullayev R. Musical and stylistic features of Uzbek epics. "Art", 2006, No. 1.
2.
Abdullayev R. Big song. "Art of Uzbekistan", 1980, No. 6.
3.
Karomatov F. Uzbek instrumental music. Tashkent, 1972. 17. Karomatov F.,
Rajabov I. Shashmaqom. //Shashmaqom, 1 lathe. Tashkent, 1966
4.
Yunusov R. About statuses. Tashkent, 1982.
5.
Yunusov R. Uzbek folk music creation. Part 2. Tashkent, 2000.
6.
Fitrat A. Uzbek classical music and its history. Tashkent, 1993.
7.
Shashmaqom lessons. 1st set. Tashkent, 2005.
8.
Shashmaqom lessons. 2nd set. Tashkent, 2005.
9.
Shashmaqom traditions and modernity. Tashkent, 2005.
10.
History of Uzbek music. Tashkent, 1981.
11.
Art of Uzbekistan. Tashkent, 2001.
