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THE AMERICAN JOURNAL OF INTERDISCIPLINARY INNOVATIONS AND RESEARCH (ISSN- 2642-7478)
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PUBLISHED DATE: - 19-11-2024
DOI: -
https://doi.org/10.37547/tajiir/Volume06Issue11-14
PAGE NO.: - 220-223
TEACHING THE PERFORMANCE OF MAQAM
INSTRUMENTAL MUSIC: REFLECTIONS AND
SUGGESTIONS
Muminova Guzal Igamovna
Senior Lecturer of the "Maqom Instrumental Performance" Department, Y. Rajabi National
Institute of Music Arts, Uzbekistan
INTRODUCTION
Maqoms are an essential part of the cultural
history of various nations. Through maqoms, one
can look into the roots of the musical and artistic
heritage of nations. Music itself is considered a
great miracle for humanity, and the existence of
maqoms plays a significant role in this.
In general, the science of music is highly regarded
as one of the criteria that shapes humanity's
spiritual wealth, aesthetic worldview, and future
development. It incorporates each nation's
national traditions, customs, rituals, and values.
Maqoms are one of these valuable spiritual
treasures.
Among the different areas of music, maqoms are
currently undergoing significant promotion and
research within Uzbekistan’s musical culture. The
changes and innovations of recent years are
reflected in music, especially in maqoms. Uzbek
national maqoms are expected to gain wider
recognition on the global stage and demonstrate
their high musical values. Our goal is to better
understand the historical, cultural, and musical
significance of maqoms and to introduce them
more broadly in the global musical arena. This will
contribute not only to the development of Uzbek
musical heritage but also to the overall progress of
world music culture. The recognition of
Shashmaqom by UNESCO as "Intangible Cultural
Heritage of Humanity" greatly accelerated its
development. In 2017, the decision of President
Shavkat Mirziyoyev on the "Measures to Develop
Uzbek National Maqom Art" was adopted, and the
"Uzbek National Maqom Art Center" was
established.
RESEARCH ARTICLE
Open Access
Abstract
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Maqom ensembles were formed in every region,
and the "Uzbek Maqom Art" faculty was opened at
the Uzbekistan State Conservatory. Furthermore,
the "History and Theory of Uzbek Maqom"
department was created. In the city of Shahrisabz,
the International Maqom Forum is held every two
years,
alongside
scientific
and
practical
conferences and performance competitions.
Since September 2020, the Yunus Rajabi Institute
of Uzbek National Music Arts has been operational.
This institution plays a key role in achieving new
successes and results in the research and teaching
of maqoms.
Indeed, maqom art is one of the oldest and most
practically polished branches of music, having
reached excellence in its performance. The
development of this art is a direct result of the
"performance" aspect of music, which showcases
its strength and influence through live execution.
Analysis of Related Literature
Many scholars have conducted research on
maqoms. In the past, great thinkers such as Abu
Nasr Farabi, Darvesh Ali Changiy, Mahmoud
Sheroziy, Zaynulobiddin Khusayniy, Safiuddin
Urmavi, and Alisher Navoi provided valuable
insights on maqoms. In modern times, the works of
A. Fitrat, I. Rajabov, Y. Rajabi, O. Matyoqubov, S.
Begmatov, Z. Oripov, O. Ibrokhimov, R. Abdullayev,
A. Zokirov, Sh. Oyxo‘jayeva, and other
musicologists have been instrumental in guiding
our research. A pedagogical teacher should
approach each topic historically and theoretically,
attempting to explain it through examples.
A maqom performer, whether an instrumentalist
or vocalist, needs to deeply understand the essence
of maqoms to convey them effectively. Maqoms,
which range from simple to complex, and from
slow to fast, develop in a way that expands and
intensifies based on their content and meaning.
The structure and arrangement of the maqoms, as
well as the attempts to express the underlying idea,
present numerous research challenges for
performers and scholars alike.
For example, a performer must first understand
the meaning of the "musical problem" in maqoms
and its importance in performance. Why do we
divide maqoms into two sections when performing
or studying them? This is a question that the
student must thoroughly address, as the idea of
dividing maqoms into three parts was first
proposed by Abdurauf Fitrat.
In his work "Uzbek Classical Music and Its History,"
Fitrat theorized that maqoms can be studied in
three sections: Mushkilot (difficulty), Nasr
(narrative), and Ufar (conclusion). The term Ufar is
used because these sections appear in all
instrumental lines, serve as a concluding part, and
are always in time signatures of 6/8 or 3/4, with a
lively and dance-like character.
METHODOLOGY
Students studying maqom performance need to
first work on the technical aspects, including
tempo, notation, and the correct execution of the
music. Extensive practice is required for
instrumentalists to properly express maqoms and
preserve their melodic structure without
distorting the scales. Understanding the rhythm
and maintaining balance in the performance are
crucial for achieving perfection.
In order to master maqom performance, students
must not only master the technical aspects of their
instruments but also understand the spiritual
essence and development of the piece, including
the melodic, harmonic, and thematic elements. The
ability to recognize the structure, style, and
historical context of each maqom is essential for a
profound performance.
When students have fully absorbed these
elements, they will be able to execute maqoms with
precision, emotionally connect with their
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audience, and express the depth of each piece.
Without mastering these fundamentals, it would
be impossible to become an accomplished maqom
performer or traditional instrumentalist.
RESULTS
The role and importance of maqoms in the
education system, particularly in music education,
cannot be overstated. By studying maqoms,
students not only improve their technical musical
skills but also develop a deep understanding of the
historical and aesthetic dimensions of the music.
This enhances their overall performance ability
and helps preserve national musical traditions.
The study of maqoms is conducted from both
historical
and
theoretical
perspectives.
Musicologists analyze the history, development,
structure, and styles of maqoms, which contributes
to a deeper understanding of this art form.
Theoretical research, such as the exploration of the
authenticity of maqoms and their place in folk
music, enriches the knowledge of maqoms and
helps students gain a better grasp of their
performance.
Pedagogical approaches are crucial in teaching
maqoms. Students must not only learn musical
techniques but also understand the historical
context, meaning, and importance of maqoms in
performance. Educators should guide students to a
deeper level of musical literacy, technical
proficiency, and aesthetic understanding, which
will improve their performance skills and
contribute to preserving national music.
Practical experience is vital for mastering maqom
performance. By performing maqoms, students
enhance their technical abilities and learn to
appreciate the subtleties of the music. The
different directions and styles of maqoms, their
structures, and characters can be understood
better through hands-on experience. Through
practice, students develop the skills to overcome
the complexities of maqom performance.
The connection between theory and practice is
fundamental in learning maqoms. Theoretical
knowledge helps students understand the
historical and aesthetic aspects of maqoms, while
practical experience allows them to apply this
knowledge in their performances. Together, these
two elements contribute to mastering the art of
maqom performance.
CONCLUSION
Maqoms are a vital part of musical art, and
studying, analyzing, and performing them helps
students gain a deeper understanding of musical
culture. By learning both the theoretical and
practical aspects of maqoms, students improve
their technical skills and aesthetic awareness.
In higher education, teaching maqom performance
enables students to master all aspects of musical
art and significantly improves their performance
abilities. At the same time, preserving and
developing maqoms is crucial for maintaining and
advancing national musical traditions.
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Yunusov R. Uzbek Folk Music Creativity (Part
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Yunusov R. Maqoms of Eastern Peoples.
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Translated from Persian by A.N. Boldyrev.
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