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Classification features of instrumental sections of Makoms
Elmurod TAJIBOEV
1
Namangan State Pedagogical Institute
ARTICLE INFO
ABSTRACT
Article history:
Received October 2024
Received in revised form
15 November 2024
Accepted 15 December 2024
Available online
25 January 2025
This article provides detailed insights into the reforms in the
field of culture and art in our country, focusing on the formation
of makom and its various types. It also offers a classification of
instrumental sections of makoms, including tafsif, tarje,
mukhammas, gardun, and sarakhbor.
2181-
1415/©
2024 in Science LLC.
https://doi.org/10.47689/2181-1415-vol5-
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
music,
makom,
description,
instrument,
melody,
song,
process,
tarje,
gardun,
saqil,
mukhammas,
work.
Maqomlarning cholg‘u bo‘limlari tasniflash xususiyatlari
ANNOTATSIYA
Kalit so‘zlar
:
musiqa,
maqom,
tavsif,
cholg‘u,
kuy,
qo‘shiq,
jarayon,
tarje,
gardun,
saqil,
muxammas,
asar,
tahlil.
Mazkur maqolada yurtimizda madaniyat va san’at sohasidagi
islohotlar, maqomning shakllanishi va ularning turlari,
maqomlarning cholg‘u bo‘limlaridan rafsif, tarje, muxammas,
gardun, saraxbor kabi bo‘limlarni tasniflash kabi masalalar
haqida
batafsil ma’lumot berilgan.
1
PhD, Senior Teacher, Namangan State Pedagogical Institute.
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98
Классификационные
признаки
инструментальных
разделов макома
АННОТАЦИЯ
Ключевые слова:
музыка,
статус,
описание,
инструмент,
мелодия,
песня,
процесс,
тарье,
гардун,
сакил,
мухамас,
произведение,
анализ
.
В данной статье представлена подробная информация о
реформах в области культуры и искусства в нашей стране,
о формировании макома и его различных видов. Также
осуществляется
классификация
инструментальных
разделов макома, таких как тафсиф, тарже, мухаммас,
гардун и сарахбор.
INTRODUCTION
Today’s turbulent times, as in all areas, require education in the education system of
the changes taking place in the world. In the process of fundamental reforms in the
economic, political, and social spheres of our country, special attention is paid to national
culture and art, spirituality and enlightenment, and progressive factors in our society.
The most urgent, primary task of the leader teaching the subject of the instrumental
ensemble is to adapt education and upbringing to the specifics of collective performance.
Over the past period, the Republic of Uzbekistan has adopted a number of normative and
legal acts on the development of culture and arts.
In particular, the Resolution of the President of the Republic of Uzbekistan No. PD -
3391 of November 17, 2017 “On measures to further develop the art of the Uzbek national
makom”, August 26, 2018
Resolution No. PD -
3920 “On measures for innovative
development of the arts”, Resolution No. PD
-
4038 of November 28, 2018 “On approval of
the Concept of further development of national culture in the Republic of Uzbekistan”,
2019 Resolution of the Cabinet of Ministers of the Republic of Uzbekistan No. 1019 of
December 19, 2019 “On approval of the Program for improving the activities of museums
in the Republic of Uzbekistan in 2020-
2021”, November 23, [1] of May 30, 2019 “On the
organization of the activities of the state museum-
reserves Sarmishsay”, “Shakhrisabz”,
“Termez ” and “Kokand” Resolution of the Cabinet of Ministers of the Republic of
Uzbekistan No. 443 of April 21 are becoming increasingly important. [2]
Main part.
In music education, understanding and mastering the fundamental
essence of works has always led to positive results. Therefore, it is important for every
student or beginner musician to fully understand and comprehend the works they are
mastering.
Although theoretical sources provide detailed and well-founded information about
the components of makoms, it is appropriate to give a brief commentary for the exercises
based on these existing sources. Decisions of this nature being taken by our government
are another important step towards the future of our country, the youth.[3]
Tasnif is an Arabic word, meaning a created work - a melody. The instrumental
sections of each makom begin with the tasnif melody. Its tactritm measure is 2/4, and
depending on the place, it is in 4/4, and continues unchanged throughout the melody.
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Although the circular methods of tasnifs are almost the same, sometimes you can find a
shorter form depending on the nature of the melody. Tasnifs have independent musical
themes in each of the maqams. Their melodic and melodic foundations differ directly from
each other due to the maqam. It is worth noting that their melodic parts are sometimes
long and sometimes short, and their khona and bozgoi can be different. Tasnifs are the
initial part of the makom instrumental path, and have their own form and, of course, a wide
range of sound. Tasnifs are the main theme, the basis of the instrumental path of makoms,
and the melody and certain melodic parts are found in the parts that follow them, as
rhythmic or melodic variations.
Tar
je’
- from Arabic means to repeat, to repeat. The time signature is 2/4. The fact
that the melody being performed in its own tune is repeated at different heights, appearing
in the form of rhythmic and melodic variations is a characteristic feature of tarje. It
contains works with such unique features that they can be played with different charms in
ensembles of different compositions. For this, it is necessary for the music teacher to
conditionally divide the music lessons into groups, taking into account the impact on the
student’s education.[4]
Gardun -
“gardonia” means revolving, roundabout, sky rim, circle, fate. In music,
Gardun is a melody performed in accordance with a certain circle method and, accordingly,
a certain lad / makom / in accordance with the method. Its time signature is very complex,
consisting of 8/4 (2/4 + 3/4 + 3/4). In Gardun, the bozgoy does not repeat after each khan,
but comes after a certain end of a melody.
Mukhammas means five, five, this expression is widely used mainly in ghazals. In
poetry, it is a poetic form consisting of five lines. The time signature of Mukhammas is
based on 2/4 or 4/4 (volumetric), partial metro-rhythmic measure, and the general circle
method is 16 bars. Simply put, within the 16-volumetric range, a whole melodic phrase is
formed, and this volume is preserved in constant repetitions. Its characteristic feature is
that the circle method of the khona and bozgoys is in the same meter.
The sequence of khona and bozgoys in the melody can change depending on the
situation. Usually, the khanma alternates with the bozgoy, but in some cases, especially in
the climaxes, 2-3 khanmas are repeated without the bozgoy. It is natural to find many
melodic fragments in mukhammas that are similar to each other. In fact, these can only be
similar in some aspects. It is inappropriate to think that the purpose of this is to repeat a
single melodic fragment. These mukhammas should be perceived as unique in their own
way. These features of mukhammas do not reduce not only the form, but also the artistic
and aesthetic value of the genre, but on the contrary, they provide them with greater
variety and contribute to the completion of the melody.
Sakil - from Arabic means heavy, restrained, elongated. In music, it is the name of a
complex circle method. The time signature includes twenty-four beats in alternating 2/4
and 4/4 time signatures. Many definitions can be given to these unique works. The
combination of difficult melodies in two or more instrumental parts gives the listener a
sense of pleasure. Of course, in order to achieve such a high level, it is necessary to pay
attention to the sound of the words in the ensemble and perform them carefully.
Considering that ensemble performers will use this manual more widely, we also found it
necessary to provide the notation of the first group of shashmakom branches, the
Sarakhbors and their songs.
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Sarakhbor -
Sarakhbor is composed of two words, “sar”
- Tajik beginning, beginning,
“akhbor” is the plural of the Arabic word "khabar", that is,
the sarakhbor-informative main
melody, song, makoms are the main, main theme of the song section. Usually, Sarakhbors
have the skills of artistically using several keys without relying on one key. Therefore,
Sarakhbors often switch from their main key tonality to another key in the middle part
(especially in climaxes). Such an alternation of keys arises from certain internal laws of
makoms. When we perform makoms with intelligence, we see that there is a certain key
tonality system, and these melodies, with their diversity, are important factors in ensuring
the genre in the works. The rhythmic rhythm of Sarakhbors is restrained, and their
mastery can be somewhat difficult. In order to convey the complex and subtle rhythms and
their content to the listener, the performers of the ensemble of musicians must be highly
skilled and experienced. Before performing Sarakhbors, which are considered large works,
each ensemble performer is required to have a complete idea of the types of music that
play a very important role in the development of the melody of our makoms. If such types
(appearances) are reflected in the instrumental ensemble, it will be somewhat easier to
ensure the full performance of the work. Sarakhbors are very complex in terms of
structure.
The ensemble consists of a doyra, gijjak, nay, kushnay, chang, rubab, dutar, tanbur,
and their number may be increased to some extent. Practical experience shows that an
increase in the number of musicians somewhat complicates the process of mastering
works. In such cases, it is advisable to select the necessary parts of each instrument from
the words. There are also opportunities to make it a little easier to perform the melodies
mentioned above with ensemble accompaniment. This is achieved mainly by attaching the
parts in the work to the parts. It is worth mentioning that for this, it is important for the
ensemble teacher to have an idea of the parts and know the possibilities of their sound
range. Because it is not advisable to recommend parts performed on high notes to the
dutar, koshnay or oud parts. They will not have enough resonance and will not give the
expected resonance. Therefore, it is appropriate to divide the words that are more
expressive than these into gijjak, nay, rubab, and chang, taking into account the wide range
of sound possibilities in all aspects and based on the content of the melody.
Usually, the distribution of words requires special attention, whether it is in the
instrumental or singing direction. Ensemble interpretation of instrumental music requires
this method. This method is used in the performance of makom to demonstrate its artistic
and aesthetic aspects. The criterion of reflecting the emotions in the work in the words is
also an important aspect. In music, this process is
called the criterion of “dynamics”. It is
necessary to pay attention to the lack of excess of ornaments and laments, to uniformity,
and to the low-high (f - p) of the melody being performed. In makom performance, or in
general instrumental performance, it is very important to use dynamic elements in the
right place and in moderation. Nothing can be achieved by playing a piece from the
beginning to the end in a high (f or ff), hard “all
-
encompassing” voice. This is why the direct
criterion of musical perfor
mance is called “live performance”. Live performance has its
own rules. According to it, elegance and surprise should show their magic in musical
performance.
Sophistication is manifested in the interpretation of the instrumental words and
impresses the li
stener. This criterion is called “dynamics” in music. The richness and
diversity of our musical heritage is obvious to everyone.[5]
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For example: Although the munojot melody can be performed with the tanbur
melody in itself, a special pleasure arises when it is accompanied by a dutor. There are
many masterpieces in our heritage, and only by correctly distributing them to the words
can the ensemble’s potential reach higher levels. It is inevitable that each ensemble has its
own place, composition, and leader. However, there are systemic problems in the field of
music education, insufficient attention is paid to the good use of existing opportunities and
potentials for the development and implementation of innovative ideas and technologies,
against the effective implementation of the intended reforms and the innovative
development of music education in the field of science in the country the constraints
shown are important deadlines.[6]
The performance aspects of the ensemble are formed on the basis of this
composition. That is why the interpretation of a particular melody by ensembles is always
unique.[7] Accordingly, a large ensemble, a small ensemble, and a quartet are composed of
ensembles. Performance practice is based on the capabilities of the ensemble and the
proportionality of the instruments.[8] First of all, it is very important to activate the skills
of the ensemble musicians to perform as a team and adjust them to perform on the
principle of one key. Then, it is advisable to imagine the ensemble as a
“single instrument”
and divide the performance into different instrumental parts with the distribution of
“registers”.
Conclusion.
It is advisable to proceed from the timbral and performance
capabilities of each instrument. As is known, the main task of the ensemble of musicians is
to accompany the singers. The main attention in this article is focused on this aspect. It
should also be noted that one perfect part can perform a complete work, just like a singer.
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