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DEVELOPMENT OF UZBEK MUSIC IN THE FIRST HALF OF THE XX CENTURY AND ITS STUDY IN RESEARCH OF UZBEK AND FOREIGN SCIENTISTS
Tashpulatov M.F.
Tashpulatov Muzaffar Faizullaevich - foundation doctoral Student PhD, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: scientific research of the recent past of Uzbek musicology, especially its situation at the beginning of the 20th century, and its detailed description based on the scientific views of national and European thinkers, comparative analytical study has become one of the urgent topics. If we consider contemporary Uzbek musicology as a whole system, we can see that most of the problems reflected in them are extremely compatible with today's needs. Therefore, looking at this wonderful heritage as an integral historical part of our national values, studying them based on the achievements of modern science.
The article examines the processes of musical creativity of the peoples of Central Asia at the beginning of the twentieth century. And also a brief description of the work of such scientists as Mulla Bekjon Rahmon, Muhammad Yusuf Devonzoda, Fitrat, G. Zafari, and, therefore, V. Uspensky, V. Belyaev, N. Mironov and S. Semenova. Keywords: music, history, research, ethnography, musicologist, musician, culture, science.
РАЗВИТИЕ УЗБЕКСКОЙ МУЗЫКИ В ПЕРВОЙ ПОЛОВИНЕ ХХ ВЕКА И ЕЕ ИЗУЧЕНИЕ В ИССЛЕДОВАНИЯХ УЗБЕКСКИХ И ЗАРУБЕЖНЫХ УЧЕНЫХ
Ташпулатов М.Ф.
Ташпулатов Музаффар Файзуллаевич - базовый докторант (PhD), Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: одной из актуальных тем стало научное исследование прошлого узбекского музыкознания, особенно его положения в начале ХХ века, и подробное описание на основе научных взглядов отечественных и европейских ученых, сравнительно-аналитическое изучение. Рассматривая современное узбекское музыковедение как целостную систему, можно увидеть, что большинство отраженных в нем проблем в высшей степени совместимы с сегодняшними потребностями. Поэтому это историческое культурное наследие - неотъемлемая историческая часть наших национальных ценностей, изучение их на основе достижений современной науки - веление времени.
В статье рассматриваются процессы музыкального творчества народов Средней Азии в начале ХХ века. А также краткое описание работ таких ученых, как Мулла Бекжон Рахмон, Мухаммад Юсуф Девонзода, Фитрат, Г. Зафари, а, следовательно, В. Успенский, В. Беляев, Н. Миронов и С. Семенова. Ключевые слова: музыка, история, исследования, этнография, музыковед, музыкант, культура, наука.
On the one hand, the science of musicology, which is the musical culture of Uzbekistan and its ideological reflection, is a process full of contradictions and contradictions. On the other hand, it was marked in history as the period when the mature specialists of their field, self-sacrificing scholars entered the field of creativity.
Another scientifically significant aspect of the issue is the numerous articles and books published by Russian music representatives such as V. Uspensky, V. Belyaev, N. Mironov and A. Semyonov, about the music of our national enlighteners-intellectuals - Bekjon Rahmon ogle, Matyusuf Kharratov, Abdurauf Fitrat, Ghulam Zafari. it was published almost at the same time and period as his works. In addition, the fact that they often cooperated with Russian scientists is a phenomenon of special importance for us.
Each of the mentioned devotees left a great legacy, and today they are honored again as bright examples of our national values. In our opinion, these are still the first steps of a major turnaround. After all, "Shashmaqom" written by V. Uspensky, Fitrat's book "Uzbek classical music and history", Ghulam Zafari's essay "About Uzbek music", written by V.Uspensky and V.Belyaev's scientific-theoretical views on the history and foundations of Uzbek music, correspondence, A. Semyonov's research and translations of musical treatises serve as classic examples of their field.
1. Getting acquainted with the general situation of the first periods of Uzbek musicology and analyzing the formation processes of the new Uzbek musicology
2. Observing the formation process of the methodology of studying Uzbek music
3. Observation of views and attitudes of Russian-speaking and foreign scholars to Uzbek music
It is extremely important today to get acquainted with the unpublished creative heritage of the scientists of the time and draw some conclusions.
It should be noted that for all the scientists and researchers whose names are listed, Fitrat and his views serve as a foundation to some extent. At some points, Fitrat's thoughts have gained priority for Russian-speaking scientists.
There has even been interest in this pamphlet abroad. As an example, we quote an excerpt from the letter of the famous scientist, professor V. Belyaev to V. Uspensky.
From V. Belyaev to V. Uspensky 10/VIII/1929 [1].
... I also wrote to Fitrat, taking the opportunity that his book is referred to in one English work. Promised to get him this article if he told me something. By the way, I am already fluent in Uzbek so much that I have translated more than 20 (albeit the easiest/ pages of his book). Unfortunately, things didn't work out with the teacher and I have to puff on this book without outside help ...
Famous scientist V. Belyaev showed great interest in A. Fitrat's treatise, hired a special teacher and tried to learn the Uzbek language. When such lessons do not produce the expected results, the scientist tries to study and translate the work independently.
For Russian-speaking researchers who came to Turkestan, its climate, nature, social condition of the population, ethnography, cultural life together with national instruments, classical and folk music (folklore) creativity became a huge source of research. During this period, observational work, which was initially carried out for political purposes, later began to rise to a serious scientific level.
As a continuous continuation of efforts in the field of music culture, another historic event was held.At the initiative of Fitrat, the Russian ethnographer and musicologist V. Uspensky was invited to Bukhara to record Shashmaqom. As a result of Fitrat's patronage and hard work of V. Uspensky, "Shashmaqom" was published in Moscow in 1924 under the name "Shest muzykalnyx poem" ("Six musical epics").
In 1925, the book "Musical history of Khorezm" created by the first director and teacher of the Khiva children's music school Matyusuf Kharratov (Muhammad Yusuf Devon) in collaboration with the poet and literary critic Mullo Bekjon Rahman Oguli was published in Moscow in the Arabic alphabet.
This work occupies a special place in the history of our musicology as the first research on the scientific and practical foundations of Uzbek music, especially maqam.
In 1927 A. Fitrat's pamphlet "Uzbek classical music and its history" and V.Uspensky's articles "Klassicheskaya muzyka uzbekov" will be published. With his articles on Uzbek music and the pamphlet "Uzbek classical music and its history", Fitrat tried to lay the foundation stone of 20th century Uzbek musicology. A. Fitrat introduced the concept of "classical" for the first time in relation to Uzbek literary and musical heritage in his works "Rules of literature" and "Uzbek classical music and its history".
In 1928, the Samarkand Institute of Music and Choreography began its activity. The head of the institute is N. Mironov. The Institute has set itself educational tasks such as researching folk art, teaching national singing and dancing arts, collecting information on the history of music, and creating sheet music samples.
Many positive things were done in the scientific activity of the institute. "Music Literacy" manual in Uzbek and Tatar languages, "Muzyka Uzbekov" (1929), "Muzyka Tajikov" (1930) in Russian, graduate students M.Ashrafiy "Folk Songs of Bukhara", T.Sodikov "Folk Songs of Fergana", Sh. Ramazonov in 1931, the collection "Khorazm folk songs" was published under the editorship of N.Mironov, and in 1931 the books "Obzor muzykalnix kultur uzbekov i drugikh narodov Vostoka" directly written by him were published.
In 1930 V.M. Belyaev's article "O muzyke uzbekov" was published for the first time in "Proletarsky muzykant" magazine, dedicated to Uzbek music. V.M.In 1930-31, Belyaev worked as a consultant-advisor in Turkmenistan, and in 1931-33 in the Committee of Narkompros of Uzbekistan.
In particular, the works of Russian-speaking researchers such as N. Mironov (1870-1952), V. Uspensky (18791949) and E. Romanovskaya (1890-1947), who were active in the field of music, gained their own importance in Uzbek music culture, and became history as the first swallows. took a place in its pages. The phrase "first time" or "for the first time" can be used for some events that occurred during this period. The first conservatory, the first music school, the first graduates, the first sheet music, etc.
In the 1920s and 1940s, the classical and folk music of the peoples of Central Asia, which was not a painting before, was studied on the basis of new principles. That is, during this period, the issues of recording national musical creativity in European tact sheet music, recording on a phonograph, and introducing the musical heritage recognized as a universal human value based on national principles were carried out on a large scale.
Unfortunately, by the 1940s, political games escalated, and almost all of the above-mentioned Uzbek and Russian scientists were repressed. Of course, reading and studying their works was also forbidden. That's why we still don't have enough information about them. O. Matyokubov expressed the following thoughts about this: "Thus, from the beginning of the 30s, the movement of cultural and educational revival was put an end to, and Stalin's national policy began to rule. In the field of musical ideology, heavenly slogans such as "from duto-symphony" and "from song to opera" were thrown into the field. Even at the beginning of the 50s, the term "socialist music culture" meant primarily multi-voiced musical works, and the tunes and songs of the peasant peoples were filled with "new content" and began to be transformed into European forms. Statuses were excluded from official circulation as a symbol of the past in a negative sense, as an art form of the court" [2, 26].
In order to restore the scientific heritage of 1920-40 years, it is advisable to carry out research based on many modern scientific achievements. No matter how interesting and meaningful the scientific works of A. Fitrat or V. Uspensky, M. Kharratov or G'. Zafari, V. Belyaev or A. Semyonov are, some aspects of them will become obsolete with the passage of time, and some aspects may not correspond to the requirements of the time. . In this respect, studies created 80-90 years ago require appropriate comments and explanations.
For this, it is necessary to study the efforts of national enlighteners and Russian-speaking intellectuals in 192040, understand the essence of their ideas, and continuously continue the work of focusing their exemplary aspects on the service of today's needs. It is necessary to carry out extensive and detailed research on the creation of explanatory publications of the works of national enlighteners and Russian-speaking scientists that meet today's requirements from a critical point of view and in accordance with the requirements of the ideology of independence.Located in the heart of Central Asia, the land of Uzbekistan, which has been known as a center of ancient culture since time immemorial, attracted attention as a place of new creative research. Therefore, the experience of the cultural, including musical processes of Uzbekistan in the 1920s-40s is of particular importance in the history of the 20th century.
References / Список литературы
1. Correspondence of V.A. Uspensky and V. Belyaev. Manuscript. Library of the Scientific-Research Institute of Art Studies. Tashkent, 1958. Cipher M (m) U 77. № 440/2.
2. Matyakubov O. Makomat. Tashkent, 2004.
