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ON THE DEVELOPMENT OF MAQOM ART
Sadriddinov Mo’minjon
Maqom xonandaligi kafedrasi o’qituvchisi.
https://doi.org/10.5281/zenodo.14676422
Abstract. This article discusses the development of maqom art and the maqom art and
performance styles of the peoples of the East.
Keywords: maqom, art, performance, culture, music.
О РАЗВИТИИ ИСКУССТВА МАКОМ
Аннотация. В статье рассматривается развитие искусства маком, а также
стили искусства и исполнения макома у народов Востока.
Ключевые слова: маком, искусство, исполнение, культура, музыка.
The peoples living in Central Asia, one of the centers of ancient culture, have made a
significant contribution to the treasury of world science and culture. They also have a very rich
ancient heritage in the field of musical culture. Ancient written sources on the history of the
musical culture of the peoples of Central Asia and monuments found by archaeologists serve as
evidence of this and confirm that these peoples have been the owners of high culture since ancient
times.
Under the influence of processes, changes in different eras, and the attitude of the ruling
powers to the national culture of the local people, many valuable sources have been lost. For this
reason, only written sources on the history of the culture of the peoples of Central Asia over the
last thousand years have reached us. In the second half of the 9th century, as a result of the outbreak
of the people's struggle for freedom in Transoxiana and Khorasan, fierce resistance and uprisings
of the indigenous peoples against the invaders, the rule of the Arab Caliphate was overthrown, and
the local Tahirid and then Samanid states were established. During this period, certain conditions
were created for the development of culture and art. A number of scholars from Central Asia
became world famous for their scientific works in the history of medieval science during the same
period [1, 14].
The number and system of maqoms in the classical music of the Near and Middle East
were not clearly defined until the 13th century. Safiuddin al-Urmawi developed a scientific
classification of maqoms and created the "Twelve Maqom System". This system was used until
the 17th century, and on its basis national and local maqom types and styles were formed in
different regions. Today, Uzbeks and Tajiks call it "makom", Turkmens and Uyghurs call it
"muqom", Iranians and Azerbaijanis call it "dastgoh", Turks call it "makam", and Arabs call it
"maqam".
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The art and performance styles of the makom of the Eastern peoples have been enriched
over the centuries by the influence of folk, national local traditions. In Uzbek classical music, the
Bukhara Shashmaqom, Khorezm makoms, Fergana-Tashkent makom yollari, surnay, dutar
makom yollari have been formed and have survived to this day. The makom instrument and
singing yollari constitute a significant part of the national musical heritage and have served as a
source of inspiration for the creativity of composers.
Maqam (Arabic for place, place, position) is one of the main concepts in the music of the
Muslim East. Initially, this concept meant a place or fret that was pressed to produce a sound of a
certain pitch on a stringed instrument. Over time, in the process of developing the theory of Eastern
music, the meaning of the maqam expanded and became a concept that included a certain fret
structure, system, form, genre, musical directions and performance styles. The prominent
representatives of the classical music theory of the Muslim East, Abu Yusuf al-Kindi, Al-Farabi,
Ibn Sina, Ibn Zayla, Safiuddin al-Urmawi, Mahmud al-Shirazi, Abdulkadir Maroghi and other
scholars, deeply studied the musical and aesthetic aspects of the maqam and presented their
theoretical explanations. Therefore, for now, we will suffice with a brief mention of the
information available in musical sources in the 10th-19th centuries. Most of the music treatises
comment on the theoretical foundations of the maqams. Initially, one of the great figures who
founded the theory of music of the peoples of Central Asia was Abu Nasr Al-Farabi. Al-Farabi.
The great philosopher-scientist, one of the founders of the theory of music of the Middle
East - Abu Nasr Muhammad Al-Farabi was born in 873 in the city of Al-Farab on the banks of the
Syrdarya River and died in 950. He came from the Turkic tribes of Central Asia and received his
initial education in his native city. Al-Farabi, who had a decent education, went to the cities of
Baghdad, Damascus, and then to Egypt, where he improved his education. "Al-Farabi was also a
wonderful musician and music theorist. He played all the musical instruments that existed in his
time. He especially skillfully performed melodies on the flute and tanbur. Some sources indicate
that Al-Farabi invented the qanun instrument and did a great deal of work to improve the ud, which
was popular at that time. [2, 15] The great scholar was one of the leading scholars of his time,
creating profound scientific works on philosophy, logic, mathematics, and other sciences.
Musicology was considered one of the mathematical sciences.
Abu Nasr Al-Farabi in his treatises on music founded the theory of Eastern music. His
musical works are “Kitabul-Musiqay al-Kabir” (“The Great Book on Music”), “Kalam fil-Musiqa”
(“Words on Music”), “Kitabul-Musiqa” (“The Book of Music”), the part of “Kitabun fiihsa’il-
ulum” (“The Book on the Classification of Sciences”) devoted to music, “Kitabun fi – ihsa’il-iqo‘”
(“The Book on the Classification of Musical Rhythms – Iqo‘”), and others.
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Among Al-Farabi’s musical works, “Kitabul-Musiqay al-Kabir” is of particular note. This
book was translated into French by the famous orientalist D’Erlanger and published in the “Arab
Music” series [3, 15]. The work consists of an introduction and three volumes. In the introduction,
the author discusses the definition of melody, theoretical and practical issues of music, the
emergence of melody, musical genres, instruments, the definition of melodies, the performance of
melodies, intervals, sound series, consonances and dissonances. The work consists of an
introduction and three books. In the introduction, the author discusses the definition of melody,
theoretical and practical issues of music, the emergence of melody, musical genres, instruments,
the definition of melodies, the performance of melodies, intervals, sound series, consonances and
dissonances. The first book discusses musical acoustics, the ratio of notes (sounds), types of
intervals, the rules for their formation, rhythms and other issues. The second book discusses
instruments such as oud, tanbur, nay, rubab, their frets, strings and range. The third book is devoted
to the creation of melodies and maqams, rhythm, instrumental and vocal music, melodic
ornaments, and other issues. The third book is especially important in covering the issue of
maqams.
Here, the constituent parts of the lad (maqam), the types of tetrachords and pentachords,
the many varieties of the maqam, and its branches are presented. It should be noted that Abu Nasr
Al-Farabi, in his immortal work, laid a deep foundation for the emergence of musical notation in
the East. Consequently, he invented the lad (maqam) writing patterns, which were directly related
to the pitch of the melodies, and recorded them using letter symbols. It is also worth mentioning
Al-Farabi's predecessor, the great physician and scholar Abu Bakr Muhammad bin Zakariy al-Razi
(240) (born in 855 in Rayy). Al-Razi played a prominent role in the history of Eastern science and
culture. In his youth, he practiced playing the oud and also loved to sing. Although there is no
information about Razi writing a work on music, among his books on various scientific fields was
the work “Twelve Books on Art” - “Al isna ashara kitaban fis-san’ati” [4,32-33]. One of these
books probably discussed music theory. According to contemporary students of the scientific and
theoretical works of Al-Farabi and other scholars, they were written in Arabic and comment on
the fundamental issues of the theory of Eastern music. Abu Nasr Al-Farabi’s musical treatises and
books are among the most complete and most famous works written on this subject, and served as
the basis for the writing of books by his followers, music scholars, who lived and worked in later
periods. One of his followers was Abu Ali ibn Sina. Abu Ali ibn Sina. The great scholar Ibn Sina
(980-1037), who came from Central Asia, was born in the village of Afshana, near Bukhara. He
was a great philosopher, naturalist, famous physician, and also a brilliant music theorist.
The music section of Ibn Sina's works such as "Kitabush-shifa'" ("Book of Healing"),
"Donishnama" ("Book of Knowledge"), "Kitabun najat" ("Book of Salvation"), and treatises such
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as "Risalatun fi-ilmil-musiqi" ("Treatise on the Science of Music"), along with the works of Abu
Nasr al-Farabi, occupy a special place in the history of world musicology and culture.
One of Ibn Sina's main works, "Kitabush Shifa'", is philosophical in nature and reflects the
author's natural and scientific views. The author comments on the natural sciences of his time in
13 parts. In particular, the theory of music is covered here. In the monograph of Maqams by the
maqam scholar Is'hoq Rajabov, it is written: "The work consists of 4 large sections: 1. Logic 2.
Physics (Nature) 3. Exact sciences 4. Metaphysics One of the exact sciences is music" [5,17]. Ibn
Sina here gives a comprehensive interpretation of the theory of music. The issues of musical
acoustics, sounds, intervals, genders and plurals, maqams, rhythms and melodies are scientifically
and theoretically substantiated in depth. Another of his works, the part devoted to music in
"Kitabun-najat" [6,14], provides a brief theoretical explanation of the elements of music. This
work devotes little space to the issue of positions. In Ibn Sina's work "Donishnoma" written in
Tajik, some theoretical issues of music are also commented on in the section dedicated to
mathematics. His other philosophical work - "Kitabul-ishorat" ("Guidebook") is also noteworthy
from the scientific point of view of music.
According to Ibn Sina, philosophy is a complex of sciences, that is, a science about the
whole of existence. As a great follower of the Greek scientist Aristotle, he did not blindly follow
him, but used only the part of his teacher's ideas that was acceptable to his own beliefs and
philosophical system. Ibn Sina divided mathematics into 4 sciences: arithmetic, geometry,
astronomy, and music. Ibn Sina's musical views also differ from the path of Greek scientists. In
the chapter on music, he tried to connect theory with practice and generalize this issue with its
help. This was one of the great scientist's great services in the field of musical culture. Ibn Sina
did not limit himself to writing special scientific and theoretical works on music, but also reflected
his works on music in medical books. This was no coincidence, of course. In his immortal works
on medicine, Ibn Sina highly appreciated the emotional power of music, highly valued it in the
treatment of mental illnesses and recommended it as a healing program.
In his book “The Canon of Medicine” [7,15], Ibn Sina, in one place, evaluates the spiritual
influence of music and simply describes its importance in the upbringing of a child: “Two things
are necessary for the development of a child’s organism: one is to gently move it and shake it, and
the other is the mother’s song (allasi). The first belongs to the div (of the child), the second to
the soul.” Al-Khwarizmi. In the history of musical culture of the 9th-10th centuries, the section on
music of the great encyclopedist Abu Abdullah Muhammad ibn Yusuf al-Katib al-Khwarizmi,
who came from Central Asia, “Mafatihul-ulum” (“Key to the Sciences”), dedicated to music, also
occupies a special place. This work by Al-Khwarizmi is one of the important sources for
illuminating the history of science and culture of the peoples of Central Asia.
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In particular, the section on music of this encyclopedic book fully describes the musical
instruments that existed at that time and provides detailed information about each of them. In
general, Eastern scholars initially considered music to be one of the philosophical sciences, and
therefore included it in their encyclopedia-style books. In doing so, they undoubtedly took into
account the artistic and aesthetic power and socio-educational role of music.
Music was considered one of the sciences of mathematics. This is because the sounds that
make up music are in a certain ratio to each other, and are explained by certain laws in
mathematics. Initially, the pitch of the sounds that make up intervals was measured by the length
or shortness of the string. In this case, the parts of the string are determined by geometry, and
different intervals are extracted from certain parts of it. For example, the ratio of two to one (that
is, the sound produced by half of an open string relative to itself) constitutes an interval in the
octave circle and is expressed in mathematics as 2:1. In the same sense, the ratio of 9 parts of a
string to 8 parts is a major second, its ratio of 4:3 is a fourth, its ratio of 3:2 is a fifth, 8:3 is an
eleventh, 3:1 is a twelveth, and 4:1 is a quintet. There were many types of intervals, and the ratio
of the sounds they formed was explained based on the rules of mathematics. Even the ratios of
certain sounds (steps) that formed gender, gender, and status were explained using numbers. For
this reason, along with arithmetic, geometry, and astronomy, music was considered one of the
disciplines of mathematics.
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