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PUBLISHED DATE: - 19-11-2024
DOI: -
https://doi.org/10.37547/tajiir/Volume06Issue11-18
PAGE NO.: - 234-237
THE DEVELOPMENT OF UZBEK MAQOMS:
HISTORY, ANALYSIS, AND CONTEMPORARY
IMPACTS
Hakimov Qudratjon Qurbonaliyevich
Lecturer at the Department of "Maqom Instrumental Performance", Yunus Rajabiy Institute of
Uzbek National Music Art, Uzbekistan
INTRODUCTION
The maqom tradition, which plays a significant
role in the music culture of the Uzbek people, has
undergone a long and complex development
process historically. Initially, the criteria for
creative work and performance in this genre were
reflected in the activities of palace musicians, and
in oral tradition, they expanded into broader forms
of development. Uzbek music has historically
evolved along two main directions: folk music
creativity and national classical music. Folk music
creativity (folklore) stands out for its simplicity,
straightforwardness of musical expression tools,
ease of acceptance, and memorability.
The development of these processes based on
specific principles defines the distinctive
characteristics of music itself. National classical
music, on the other hand, is distinguished by its
grand structure, genre system, performance
traditions, laws, and values. This genre is
characterized by the formation of major musical
elements, the emergence of specific terminology,
and the unique expression methods and customary
practices within particular circles. The theory of
maqoms includes the musical language (the
system of expression tools), which means the
systematic connection of musical elements, their
harmony, and their emergence as a specific form
and artistic work.
Today, the attention given to the arts and culture
in Uzbekistan is evident in the context of social
reforms, with this area being a central focus. In
recent years, the government of the Republic of
Uzbekistan has adopted decrees and decisions that
directly contribute to the advancement of the arts
RESEARCH ARTICLE
Open Access
Abstract
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and culture. For example, in the field of culture and
art development, the Presidential Decree No. PQ-
3920 dated August 26, 2018, “On the Innovative
Developmen
t of Culture and Art in Uzbekistan,”
and other decrees have set the foundation for
strengthening and advancing the sector.
In particular, on December 9, 2021, the decree PQ-
36 was adopted, focusing on the improvement of
the system for supporting the development of
culture and art, and on February 2, 2022, the
decree PQ-112 addressed additional measures for
further advancement of the sector. These
initiatives have set urgent issues for sector
specialists to implement, as reflected in the 2023
strategic framework "Uzbekistan-2030," which
identifies the necessary reforms for culture and art
by 2030.
Literature Review And Analysis
In recent history, the creative, performing, and
stylistic aspects of maqom traditions in Central
Asia, as well as in the Near and Middle Eastern
regions, have varied significantly. From the 9th
century onward, musical treatises began to emerge
in Central Asia. These treatises focused on
theoretical and scientific issues of music,
describing musical instruments in detail and
naming leading musicians and ancient music
works of their time.
In many of these works, the theoretical part is
divided into two main sections: the study of the
nag‘ma (melody) and parda (mode) system, as well
as the science of iyqo‘ (rhythmic foundations).
Prominent scholars such as Abu Nasr al-Farabi
(870-950), Safiuddin Urmavi (1216-1294),
Abdulqadir
Maraghi
(1353-1435),
and
Abdurahman Jami (1414-1492) have contributed
significantly to these studies. It is important to note
that many Central Asian theorists were deeply
influenced by the ancient Greek philosopher
Pythagoras and his school, particularly his dual
approach to mathematics and mysticism, which
had a profound impact on classical Eastern music
theory.
In the works of Eastern thinkers, such as al-
Farabi’s Ki
tab al-Musiqi al-
Kabir, Ibn Sina’s Risala
fi Ilm al-Musiqi (The Treatise on Music), and Al-
Khwarizmi’s Mafatih al
-Ulum (The Keys to the
Sciences), music theory is generally divided into
two main branches: Ilm al-
Ta‘lif (composition) and
Ilm al-
Iyqo‘ (rhyth
m). The concept of Ilm al-
Ta‘lif is
similar to the modern concepts of lad and maqom.
Over time, starting with Safiuddin Urmavi and
continuing until Abdurahman Jami, these two
concepts were consolidated into the term Ilm al-
Adwar, encompassing theoretical concepts related
to lad (modes) and maqom (musical forms).
Many scholarly works have thoroughly examined
the structural composition, unique features, and
theoretical and practical aspects of maqoms. To
understand the meaning and content of maqoms,
the study of theoretical elements, parda-lad
systems and their interrelations, methods, forms,
and principles of formation is of paramount
importance.
METHODOLOGY
Practically, the acoustic structure of musical
instruments, particularly those used in maqom
performance, such as the tanbur, and the traditions
of performance, should be carefully analyzed and
documented. The influence of international
musical connections, particularly from Eastern
Turkistan, on the creative process must also be
taken into account. The basic principles of maqoms
and musical compositions, their commonalities
and laws of stability, as well as the transformations
in their various forms, have persisted up to the
present day.
Today, in Uzbekistan and Tajikistan, the maqom
tradition has evolved into a distinctive and well-
established creative school. Maqoms, such as those
forming the Shashmaqom cycle, have developed in
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both national and local musical environments. As a
result, ancient musical values continue to survive,
preserving their folk elements and vibrant
characteristics.
These maqoms have contributed significantly to
the cultural heritage of the Middle East and the
world. However, it is challenging to say that the
processes of maqom creativity in the past
centuries have been studied in detail from a
scientific perspective. Despite this, musical and
aesthetic information on the subject can be derived
from
ancient
manuscripts
and
other
supplementary sources. Through the reliable
scholarly and artistic evidence, such as the master-
apprentice system and Eastern notation
documents, as well as literature, poetry, and visual
arts, it is possible to gain an understanding of the
development of maqoms.
From the 17th century onward, the creative
application of maqoms in Central Asia led to many
innovations and changes. In Uzbekistan, the
development of Shashmaqom, Khorezm maqoms,
and Ferghana-Tashkent maqoms reflected the
region’s musical evolution. Despite the differences
between these groups, there are clear
commonalities that distinguish them.
RESULTS
Therefore, it is necessary to evaluate both the
positive and negative aspects of these
developments with a balanced approach. The
evolution of Uzbek music and its preservation of
distinctiveness in the face of new influences
requires the careful study of its cultural and
musical evolution.
Before independence, official attitudes towards
maqoms fluctuated according to the decisions of
the authorities or general cultural policies.
However, despite these hidden and open conflicts,
maqoms have endured through their deep and
solid roots, maintaining their folk essence,
perfection, and beauty.
At the same time, maintaining the professional
level of maqom traditions has been a challenging
task. As a result, maqoms have continued largely
through imitation and amateur performance. Over
time, the influence of modern creative movements
has had some impact on maqom practices.
Uzbek maqoms have served as a strong foundation
for song, theatrical music, traditional composition,
and contemporary composers. Over centuries,
classical music works have grown in size and
scope, occupying a leading place in the musical
traditions of the Uzbek people. The contemporary
Uzbek scholar and maqom expert, Otanazar
Matyoqubov, describes the forms of Shashmaqom
currently perf
ormed in Bukhara as “living musical
heritage,” emphasizing their role as established
traditions in practice.
Matyoqubov’s perspective indicates that this rare
collection is rightly called "living musical heritage,"
as Uzbek maqoms continue to evolve, showing a
full and refined form in their current state.
CONCLUSION
Currently, the study and promotion of music
culture
faces
several
challenges.
Uzbek
musicology, particularly in historical and
theoretical contexts, deals with numerous
unresolved issues, including gaps in research and
the lack of comprehensive studies on the evolution
of musical traditions. Moreover, the need for the
development of modern methodologies in
musicology is pressing.
The goal is to improve the quality of scientific
research, develop new methodologies, and apply
them in practice to ensure the full understanding
of folk music, classical music, and modern musical
culture. Thus, addressing these issues and
unlocking new opportunities for development
requires deep analysis and innovative approaches.
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