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O’QUVCHILARNI O’ZBEK MAQOM SAN’ATI BILAN
TANISHTIRIB BORISH YO’LIDA MAVJUD MUAMMOLAR
p.f.f.d
. Pardayev Sobit Abdivali o‘g‘li
SamDPI “ Musiqa ta`limi” kafedrasi dotsenti
sobitpardayev@70gmail.com
Mirzayev Shaxzod Yunus o‘g‘li
SamDPI
“Musiqa ta`limi” yo‘nalishi 1-bosqich talabasi
Абстрактный.
В содержании данной статьи в процессе уроков музыкальной
культуры и внеклассной работы общеобразовательных школ, знакомящих учащихся
с искусством узбекского статуса, обсуждаются трудности, возникающие при
исполнении некоторых образцов, проблемные ситуации и пути их решения.
Ключевые слова:
школа, музыкальное образование, искусство национального
статуса, классическое, учащиеся, знания, объяснение, проблемы.
Abstract.
In the content of this article, in the process of music culture lessons and
extracurricular activities of general education schools, introducing students to the art of
Uzbek status, the difficulties encountered in performing some samples, problematic
situations and their solutions are discussed.
Key words:
school, music education, art of national status, classical, students,
knowledge, explanation, problems.
Introduction
The art of maqom, which emerged as a product of the artistic thinking of our people,
can be compared to a unique priceless cultural and spiritual treasure. Our ancestors, who
loved art and music with all their hearts from time immemorial, sang the values of the
people, and strove for truth and reality like a planet that has lost its sun from its sky. For
several hundred years, our wise and learned ancestors have been holding art and literature
evenings. Great mystic poets, statesmen, artists of various levels and scientists have
participated in such gatherings. This situation has not only had a simple influence on the
young generation that is growing up, but has also been of great benefit in producing great
scholars who have brought great benefits to the prosperity of the country and homeland
and left an indelible mark on the whole world. Our works of art that have not yet been
written down have been passed down from mouth to mouth through the traditions of
teacher-discipleship, and they have sacrificed themselves for the sake of science and art,
thinking more about the interests of future generations than themselves. As a result of these
centuries-old efforts, the "six maqoms" were created, and the masterpieces of our
intellectual ancestors, who were first imbued with the great and sacred religion of Islam
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and followed it, are reflected in it. Now the historical and forms of Uzbek classical music
have begun to be performed with their original names. Bukhara Shashmaqom, Khorezm
six-and-a-half maqoms and dutar maqoms, Fergana-Tashkent maqom routes, Uzbek
Shashmaqom and new directions are emerging. Shashmaqom was recognized as a
"priceless masterpiece of the world's intangible musical heritage" by the decree of the
General Headquarters of UNESCO. Such a high assessment of the musical heritage of a
people or region is rare in history. Indeed, Shashmaqom is a reality, a living musical
tradition that has been awarded such high titles many times.
Literature analysis. The issue of scientific research of the historical and theoretical
foundations of Uzbek folk music and its classic examples of maqoms begins in the 60s of
the last century with the scientific and creative activities of Ishaq Risqiyevich Rajabov,
Doctor of Arts. I. Rajabov is a great maqomist, source scholar, philologist, orientalist, and
a perfect master of the Persian-Tajik language. He was a brilliant connoisseur of the laws
and rules of classical poetry (aruz). His deep and encyclopedic knowledge of maqoms was
reflected in the monographic study “On the Issue of Maqoms”, published in 1963, which
was a great discovery in the science of maqom studies: it scientifically substantiated the
formation of the twelve maqom system of Shashmaqom in connection with the natural
development, the laws of its formal structure such as the parada tuzuk, zarb-usul, and also
expressed valuable ideas about the forms of the maqom system, the Khorezm maqoms, the
Fergana-Tashkent maqom paths, and their connection with shashmaqom.
Many scientists, teachers, and composers have conducted scientific research on the
study of maqoms. In this regard, it is appropriate to single out A. Fitrat, V. Uspensky, V.
Belyaev, I. Akbarov, and Yu. Rajabiy. The study of Uzbek maqoms in the field of
education has been carried out with the opening of the department of "Oriental Music" at
the Tashkent State Conservatory (1972), holding competitions of maqom performers
(1983), holding large international conferences (Tashkent 1975, Samarkand 1978),
expanding research topics in the field of maqom (F. Karomatv, T. Vizgo, T. Fafurbekov,
O. Matyoqubov, R. Yunusov, O. Ibrohimov, etc.) and performance styles have found their
expression in scientific research and articles. The International "Sharq Taronalari" music
festival (Samarkand, every 2 years since 1997), competitions of maqom performers and
ensembles, spiritual meetings in educational institutions, methods of maqom art are being
discovered, and many talented young maqom performers are being discovered. R.
Yunusov's textbooks "Maqamlat and Mughamlar (T.1992), O. Ibrohimov's "Maqam and
Space" (T.1996), Sh. Rahimov's "Shashmaqom - a World Heritage of Musical Culture"
(Samarand-2016), I. Kudratov's "Traditional Singing" (Samarand-2023) are important
sources for introducing future musician-pedagogues studying in the field of music
education in higher educational institutions to the Uzbek folk art of maqam, theoretical
knowledge, and traditional performance techniques.
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Today, our national maqom art is highly respected and paid attention to. In particular,
our President expressed the following opinion in his speech at the opening ceremony of
the “International Conference on Maqom Art” in Shahrisabz: “Maqom art, which is truly
an invaluable artistic encyclopedia for us, has been expressing the human spirit, its
sorrows, dreams, and noble aspirations on high screens for centuries, hundreds of years.
We are rightfully proud that the Uzbek people have made a worthy contribution to the
development of such a great heritage of maqom art, nourished by classical Eastern
literature, fine arts, science and enlightenment, and Islamic values. ”The Resolution of the
President of the Republic of Uzbekistan No. PQ-3391 “On measures to further develop the
Uzbek national maqom art” dated November 17, 2017 was adopted.
Starting from the 2018-2019 academic year, national maqoms (Bukhara
Shashmaqom, Khorezm six and a half maqom and dutor maqoms, Fergana-Tashkent
maqom paths, Uzbek Shashmaqom and new directions) have been systematically included
in the curricula and implemented in the State Conservatory of Uzbekistan, the State
Institute of Arts and Culture of Uzbekistan, colleges of culture and arts, specialized
academic music lyceums, and children's music and art schools. We cannot but respond to
such respect shown to our national music by the head of our state. Our great grandfather
Behbudiy said in his works, "Teach the future generation the science of the coming era,
because they will not live in the era you live in, but in the new era that is coming." We are
seeing these words spoken many years ago today through the developments in our own
time. Why is our national masterpiece, the art of maqom, not widely popular among the
younger generation these days? Why are maqoms almost not heard among the majority of
the population in everyday life? And the main problem is that our growing young
generation has lost the ability to listen attentively when a maqom is played. It is a sad
situation that light and popular songs, which are of low quality and meaning, are being
listened to with interest. If we are in such a state, without understanding our history and
identity, and get used to a light lifestyle, our future may be in danger. Our head of state,
who can foresee this and who thinks about the future, Our ancestors, who were very
concerned about this, have been and are still urging the younger generation to be
knowledgeable and intelligent, to strive to realize their identity in this bright world. Our
grandfather Ismail Bukhari, the Imam of Imams, said this about knowledge: “There is no
salvation in this world except knowledge and there will be no salvation.” In fact, if we sink
into the swamp of ignorance and laziness, if we allow ourselves to be sluggish in
understanding our history and nationality in today's era of rapid scientific development, if
we do not provide the young generation with sufficient knowledge about this in a timely
manner and encourage them to realize their identity, the entire nation may suffocate and
face decline, unable to breathe the air of knowledge, enlightenment and spirituality,
because there is no future without history. Our national art of maqom is not just a poem or
simple music, but Maqom is the history of the Uzbek nation, its sorrows and joys, and its
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joys. Maqom is one of the main sources of spiritual education for its people and raising a
human child to the level of a perfect human being. Our grandfather Najmiddin Kavkabiy
said this in his works “Risolai muziqiy”: “Music is truly a glorious science and a refined
art, because it nourishes not the div, but the soul.
Breath, the soul in the human heart, breathes
A hidden, pleasant sound accompanies it
Do not believe it, it accompanies the soul
That sound is the soul itself, which is not accompanied by a companion
In these days of peace, we, the youth, live under a clear sky, and we should not be
indifferent to the fate of the new generation and our homeland. In my humble opinion, we
should start teaching our art of maqom to children from a very young age, that is, from
kindergarten age. Some may say how can you teach young children, but I have seen in my
own experience that kindergarten children learn maqom songs like "Soqiynomai savti
kalon" from their teachers. Therefore, today we are teaching young people studying in
kindergartens and schools, where music and the art of maqom are the most important
formative stage of education, to be the most unique examples of our national musical
heritage.
Poetic works created by classical literary figures have been revered by our people for
centuries as examples of high creativity. Their artistic merit as a work of art is the fruit of
high skill and talent, the ideas expressed in their content, the lyrical experiences described
in the description of love, delicate feelings, extremely elegant images, similes, and
descriptions of colors evoke unique feelings in the heart of any person. Every time you
read such works, you feel unique feelings. The poet's inimitable imagination, the noble
qualities of his beloved, whose image he drew in his imagination, and her appearance and
movements that conquer the will of a person involuntarily captivate the reader's heart. The
melody composed for such a poetic text, combined with the magical effect of music,
becomes a means of aesthetic education, having a strong emotional impact on human
feelings. Therefore, it is advisable to use folk, classical and maqom music samples from
the folk musical heritage, their spiritual and aesthetic educational potential for pedagogical
purposes and give good results.
By nature, a person always strives for beauty. Educating a person who lives with a
desire for beauty from a young age according to the laws of beauty, teaching them to feel,
evaluate beauty, express their attitude to it, creating opportunities for realizing their talent
for creating beauty, learning to receive aesthetic education, creating opportunities for
realizing their talent for creating beauty. This determines the main goal and task of
aesthetic education. Just as national refinement and national morality, national ethics are
of great importance and significance in the development of the Uzbek people and the
spiritual and educational life of our republic, aesthetic and moral education is also an
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invaluable tool for young people to mature as spiritually well-rounded, intellectually
mature individuals who deeply feel national values.
Conclusion. When discussing the history of our musical culture, in particular the
development of Uzbek classical and maqom art, its place in the social and cultural life of
our people, and its spiritual and educational significance, it is appropriate to note that its
fascinating and deep philosophical and spiritual content has always been of particular
importance in providing spiritual and spiritual nourishment to the human mind, and that it
has not lost its position today, and has an incomparable power in educating the young
people, the creators of our growing future, in the spirit of understanding their national
identity, loyalty to our homeland and national values, and that it has been an incomparable
source of education in shaping the spiritual world of the younger generation. In conclusion,
it is worth saying that today, at all stages of the education sector in our republic, in general
education schools, which are its most important formative stage, in order to form students'
attitudes towards our national values in a positive sense, it is necessary for them to deeply
study our national musical heritage, develop a scientific pedagogical system for cultivating
feelings of love for national classical and maqom art, which imposes on educators and
mentors responsible for the education of young people a high responsibility in their
activities.
References:
1. Decree of the President of the Republic of Uzbekistan “On measures to further
develop the art of maqom” 2017.
2. Resolution of Sh. Mirziyoyev “On measures to raise the system of spiritual, moral
and physical education of young people to a qualitatively new level”. August 14, 2018.
3. I. Rajabov. “On maqom issues” - Tashkent, U’zadabiyotnashr, 1963.
4. A. Fitrat “Uzbek classical music and its history” Tashkent “Fan” publishing house
- 1993.
5. Sh. Rakhimov Shashmaqom-Samarkand “Zarafshon” publishing house 2016.
6. M. Akhmedov. Hoji Abdulaziz Abdurasulov. - Tashkent, “FAN”, 1974.
7. Khorezm maqoms. Compiled and notated by Matniyoz Yusupov.-Tashkent.
Publishing house of fiction.
8. Mamirov K. Folk singing (classical singing). Textbook.-Tashkent. Publisher of
TDPU, 2006.
9. Qodirov D.K. Traditional singing.-Tashkent, Economy-Finance, 2008.
