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PUBLISHED DATE: - 19-11-2024
DOI: -
https://doi.org/10.37547/tajiir/Volume06Issue11-16
PAGE NO.: - 227-230
SHAHMAQOM: UZBEK NATIONAL MUSICAL
HERITAGE AND ITS INSTRUMENTAL
DIRECTIONS
Kadirov Utkur Sakidjanovich
National Institute of Musical Arts named after Y. Rajabi, Associate Professor of the Department
of "Maqom Instrumental Performance", Uzbekistan
INTRODUCTION
In order to take our national musical art to a new
level, great opportunities have been created for the
in-depth study and promotion of the creativity and
activities of our esteemed masters from the past, as
well as their unique and unparalleled performance
skills. Specifically, with the aim of further
developing and improving the field, the President
of the Republic of Uzbekistan issued a decree on
August 26, 2018, "On the Innovative Development
of the Culture and Arts Sector of the Republic of
Uzbekistan" (Decree No. PQ-3920), followed by the
decree on November 28, 2018, "On Approving the
Concept for Further Development of National
Culture of the Republic of Uzbekistan" (Decree No.
PQ-4038), and the presidential decree on May 26,
2020, "On Measures to Further Enhance the Role
and Impact of the Culture and Arts Sector in Social
Life" (Decree No. PF-6000).
In addition, the decree on December 9, 2021, "On
Further Improving the System for Supporting the
Development of Culture and Arts" (Decree No. PQ-
36), as well as the decree on February 2, 2022, "On
Additional Measures for the Further Development
of the Culture and Arts Sector" (Decree No. PQ-
112), outlined the most pressing issues in the
sector, placing significant responsibilities on the
relevant authorities for their implementation.
Among these, one of the key documents, the
Presidential Decree of September 11, 2023, "On
the Strategy of Uzbekistan - 2030" (Decree No. PF-
158), clearly defined the reforms that should be
implemented in the culture and arts sector of our
country by 2030.
Analysis Of Literature On The Topic
RESEARCH ARTICLE
Open Access
Abstract
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The term "Maqom" exists in various forms across
different cultures, and its primary meaning and
musical system are understood in unique ways by
each people. For example, among the Uzbek and
Tajik peoples, it is referred to as maqom, among
the Uighurs as muqom, in Azerbaijan as mughom,
among Arabs and Turks as maqam, in Persian
music as dastgah, and in Indian music as raga. It is
believed by some scholars that the origins of these
musical genres can be traced back to the famous
musician Borbad Marvazi, who lived in the 7th
century.
Maqom (from the Arabic "makan"
–
meaning place
or position) is one of the most important concepts
in Muslim Eastern music. Initially, maqom referred
to a stringed instrument's tuning or a position on
the instrument used to produce a particular pitch
or note. Over time, with the development of
Eastern music theory, the scope of the term
expanded, and it began to express new meanings.
The concepts described in musical treatises
regarding the twelve maqoms align with the
Shashmaqom pathways. Shashmaqom is a
combination of six branches from the twelve-
maqom system, and it is natural that the emotional
impact of these six pathways varies. This is
because, in each maqom, the musical themes,
modal character, and methods of performance are
different.
For example, it is likely that the Ushshoq maqom of
the twelve maqoms was used as a sub-branch of
the Rost maqom in the Shashmaqom system. The
Ushshoq maqom conveys a sense of enthusiasm,
while the Rost maqom is known for its uplifting
and joyful mood. Even though the musical
pathways in the twelve maqoms may have
different modal foundations and themes, they are
categorized similarly due to the shared
performance methods and structure. Therefore,
the reason for their classification under names
such as Tasnim, Tarje, Gardun, and Muxammas is
the unity of their methods of performance.
METHODOLOGY
When maqoms are performed perfectly and fully,
first of all, their instrumental paths are executed
consecutively, and then the sections of the vocal
parts are added. The melodies in the instrumental
sections are considered independent parts, and
they are named according to the maqoms they
belong to. For example, Tasnifi Buzruk, Tarjei
Buzruk, Saqili Navoi, Samoyi Dugoh, Mukhammadi
Iroq, Garduni Segoh, and so on. The instrumental
paths unique to Shashmaqom are quite complex in
their melodic structure and are distinguished by
their well-developed and refined nature. Each
maqom's melody and vocal parts are not only
limited to the basic musical foundation of the
maqom, but they also undergo variations in
different sections, enriching and expanding the
content.
All instrumental paths in Shashmaqom share one
characteristic: they are primarily composed of
"khona" (house) and "bozgo'y" (market) musical
parts. These, in turn, can be formed from one or
several melodic segments. The term "khona" refers
to the idea of "a room" or "a space," meaning a
collection of sounds and their characteristics
arranged within a "room." In Shashmaqom's
instrumental paths, khona is the changing segment
of the melody, where through its phrases, the
melody moves upwards and reaches its peak, then
gradually returns to its starting point, playing a
crucial role in enriching the melody's content and
expressing a complete idea.
In the past, the term "khona" was used to denote
musical segments in both instrumental and vocal
sections. This is because, in Uzbek-Tajik maqoms,
the melodies formed by the instrumental paths of
Khona and Bozgo'y play an important role in the
progression and development of the melody.
Through the use of Khona, the melody is refined
and enriched. The Bozgo'y parts, similar to
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repetitive verses in poetry (like the stanzas in
Arabic prosody), finalize and generalize the
musical thought.
When listening to the instrumental paths of
maqoms, after the Khona parts are performed, it
may seem that something is missing or that the
melodic episode is incomplete. The Bozgo'y here,
though an unchanged part of the melody, fulfills
the function of completing and finalizing the
Khona. Instrumental melodies in maqoms can
contain several Khona and Bozgo'y parts. For
example, the instrumental part of the Navoi
maqom includes three Khona and three Bozgo'y
parts, while the Tasnifi Navoi consists of seventeen
Khona and three Bozgo'y parts.
The music manuals from the 10th-17th centuries
provide numerous examples of these patterns,
demonstrating the use of various rhythmic
structures derived from consonant sounds formed
by combining syllables with long and short vowels.
These forms are essential for expressing the
rhythmic and metric nature of the maqoms. In the
past, musicians, perhaps without a deep
understanding of prosody rules, used rhythmical
patterns like "tan-tan-a-nan" that corresponded to
the melodic structures of the maqoms. These
words had no specific meaning and were
constructed from two consonants, "T" and "N." For
example, "tan-tan-a-nan-nan." It is important to
note that, in modern times, musicians have
adapted these rhythmic elements with different
letters and words, such as "tak-taka-tum," "bik-
bak-bum," and others (e.g., in Khorezmian music
history, the term "taqtqa-gup" is used).
RESULTS
Thus, in the past, the rhythmical and meter
structures were explained using these syllable
combinations in both written and oral traditions. It
is well known that one of the essential components
of maqom music is the use of rhythmic structures.
Rhythmic patterns in maqoms play a vital role in
defining the peculiarities of the maqom, melody,
and vocal sections. Maqom songs include many
variations of melodies and vocal parts, where the
role of rhythmic structures is crucial. For example,
the inclusion of Khona and Bozgo'y within a certain
maqom may vary due to different rhythmic
elements.
For understanding the complexity of Shashmaqom
sections, one must isolate their intricate rhythmic
patterns and be able to perceive them through
listening. In simpler folk songs, one can listen to
the melody along with its rhythmic pattern, while
in maqom, this becomes much more complex. In
the vocal sections of maqoms, in addition to the
rhythmic pattern, the metrical structure also
defines the character of each maqom section.
For instance, in various maqoms, the rhythmical
patterns are categorized by how the meter relates
to the structure. In the Tasnif sections, the rhythm
is simpler, while in more complex sections like
Mukhammass and Saqils, the meter may change,
reaching 16 or even 24 beats per measure. Some
sections, like the Sarakhbor and Talqin, may shift
to more intricate meters like ¾, 6/4, or 3/4 time
signatures. These changes mark a shift from
simplicity to complexity, demonstrating the
historical development of the maqom's rhythmic
patterns.
CONCLUSION
In conclusion, the historical development of
Shashmaqom highlights the progression from
simpler to more complex rhythmic structures,
reflecting the evolution of musical culture in
Uzbekistan. As a result, Shashmaqom stands as a
classical example of Uzbek music, incorporating
diverse melodies and almost all rhythmic patterns.
In the notation books, rhythmic patterns are
presented in various forms, depending on the
version
—
whether that of V.A. Uspensky, Yunus
Rajabi, or B. Fayzullayev. Shashmaqom's
instrumental sections typically involve between
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six and ten sections, each with its own unique
rhythm.
Each maqom's instrumental parts are sometimes
given different names, reflecting variations in their
functions and forms. For instance, Tasnif, derived
from Arabic, refers to a "composed work" or a
"song." Within the context of maqoms, Tasnif is
often the primary melodic form. The rhythm
patterns of the Tasnif sections, though similar
across maqoms, may slightly differ depending on
the characteristics of the melody.
REFERENCES
1.
Rajabov I. Maqomlar (Toshkent, 2006)
•
This work delves into the maqom (a
traditional system of musical modes in Central
Asian music), exploring its structure, history, and
significance in Uzbek musical culture.
2.
Belyaev V.M. Uzbekskoye Narodnoye
Muzykal'noye Tvorchestvo (T.: Izdat. Lit. i
Iskusstva im. G.Gulyama, 1976)
•
This book discusses Uzbek folk music,
focusing on its diversity and evolution within the
context of Uzbekistan's cultural heritage.
3.
Fitrat A. O‘zbek Klasik Musiqasi va Uning
Tarixi (T., 1993)
•
Fitrat's book is a comprehensive overview
of Uzbek classical music, examining its historical
development, major composers, and unique
features within the broader context of Central
Asian music.
4.
Saidiy S.B. Markaziy Osiyo Madaniyatida
Urma Zarbli Cholg‘ular (O‘zbek va Tojik Musiqa
An’analari Misolida) O‘quv Qo‘llanma (T.: Musiqa
nashriyoti, 2008)
•
A detailed academic study of percussion
instruments in Central Asian music, specifically
focusing on the use of drum instruments (urma
zarb) in the music of Uzbekistan and Tajikistan.
5.
Akbarov I. Musiqa Lug‘ati (T.: O‘qituvchi,
1997)
•
A musical dictionary that provides
definitions and explanations of terms related to
music, with a focus on Uzbek musical terminology.
6.
Rajabov I. Maqomlar Masalasiga Doir (T.,
1963)
•
Another important work by Rajabov,
addressing the concept of maqom and its relevance
to Central Asian musical practices, with a focus on
the theoretical and practical aspects of these
musical forms.
