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Жат еллерге басымды алып/кетермен - 3 т Эзге уатан тутар болдым/дэрдицнен - 8 т Аналогичный принцип организации МС наблюдается в песнях «Теке налыш» и «Дембермес»:
Подводя итог по рассмотрению МС композиционных основ, характеризующих песни лирических дастанов, следует отметить, что:
- в МС дастанных песен, наблюдается явная тенденция к формированию крупных композиционных целостностей, в которой принимают участие как внешние, так и внутренние факторы организации. Следует отметить важную роль ме-троритма в этих формообразующих процессах. Выявлено несколько приемов композиционного укрупнения:
- путем объединения двух и более мелострок ритмоинтонационными и инструментальными средствами;
- создание целостной структуры мелостроф (МС) с помощью метроритмического варьирования;
- формирование единой композиционной основы песни путем образования общей кульминационной зоны;
Процесс объединения мелостроф (МС) в более крупные целостности — композиции всей песни, является следствием профессиональных установок бахши и привносит в сферу музыкальной выразительности новые краски, другое ощущение времени, контраст и напряжение.
^нсок литературы:
1. Айымбетов К. Хальщданалыгы. - Нокис: ^ара^алпа^стан, - 1988.
2. Афонина Н. Ю. Проблемы ритмического анализа/Ритм и форма: сб. ст./ред. Н. Афонина, Л. Иванова. - СПб., - 2002.
3. Байгаскина А. Е. Ритмика казахской традиционной песни. - Алма-Ата: АГК, - 2003.
4. Холопова В. Музыкальный ритм. - М: Музыка, - 1980.
5. Сагитов И. Т. Каракалпакский героический эпос. Т., 1962.
DOI: http://dx.doi.org/10.20534/EJA-17-1-21-23
Matyakubov Matrasul, assistant professor of the pulpit"Traditional performance"
State conservatory of Uzbekistan Tashkent. Republic of Uzbekistan E-mail: navouzbek@mail.ru
From history music performance Khorezm
Abstract: The history of the music of Khorezm — the great history, leaving their own root last ages and traces. She is connected with study enormous amount spoken and written history and literary firsthand. In presentation of the authors of the book she covers approximately from begining nineteenth age. In principal, it is important and that in illumination this second period to histories, they select two main circles of the sources.
Keywords: performance, music, tradition, islam, makom, music instrument, metro-rithm, dastan.
The history of music of Khorezm are convention- oral and written historical and literary source. Sec-
ally divided into two periods. First — it is not fore- ond — it is the immediate and foreseeable history
seeable, and a great story, with roots back centuries of Khorezm music. In the view of the authors of the
and traces of which are lost in myths and legends. book, it covers approximately the beginning of the
It is connected with the study of the vast number of nineteenth century. It is crucial, and that in light
of this second period of history, they are two main range of sources. One side texts tanbur notation as a reliable scientific evidence on the poppy, which is a kind of clot Khorezm classical music traditions. On the other side, focuses on oral traditions that live during form convey to us the age-old historical musical currents flows. It would merge as the history and theory of music of Khorezm together.
The existence of Khorezm notation, as it is called V. M. Belyaev, has long been known. Publications on this subject are found even in the "Turkestan departments." In other foreign press, particularly in the English magazine "Shark" V. M. Belyaev wrote the small article about this unique musical source, it was published in 1923. This important documents on the basics maqoms to content tanbur notation accessed prominent scientists V. Uspensky, V. Belyaev, G. Farmer, I. Radjabov and others. V. Uspensky in his small and programmatic article "Uzbek classical music" leads "Mukhammas Ushshok" fragment of the play in his own deciphering of Khorezm notation [1].
Wonderful ethnographer V. A. Uspensky his time (1879-1949) calls Khorezm "Music of Mecca". For Russian ethnographer, educated at the Saint Petersburg conservatory, in addition to information about the mythological order Korkut, Kambar Ata and Ashik Aidin, were needed convincing material from a living musical practice. He wanted to directly experience these ideas and images through the prism of current practice.
Listen performers of Khorezm dastans and through it to form an image of the patron of the arts by Ashik Aidyn. Indeed, Khorezm epics constitute a special branch in the musical culture of the region. From other related epic tradition differentiates their pronounced of musical beginning. Mainly they stand no narrator-storyteller, singer and musician. From this point of view, it is akin to the epics of Khorezm Ashug traditions and by chance the founder of this art is considered Ashik Aydin. Notice how it is said in Navoi, "I am the creator of the music" and "dastans performer at banquets". That is, the identity of the creator of the musician is embodied in the title of epic poems and they sound at social gatherings — feasts.
It is noteworthy that the protagonists of the epic poems of Khorezm are the musicians: Ashik Garib, Ashik Hamra, Ashik Mahmud and others. Topics related the glorification of musicians and music as the noble art, a great spiritual power, encourages people to perfection and harmony with the environment. And all this is done within the framework of sharia. In this, perhaps, the main essence of the aesthetic credo of "Music of Mecca".
Khorezm bordered with another musical hotbed of the ancient world — Khorasan. From his old capital was originally celebrated musician Barbad Marvi (585-638), who served at the court of the sasanian king Khusraw Parviz (590-628). One of the main merits of Barbad recognized medieval science of music — his creation of the first canonical modal system, which consisted of seven modes, named pard. Barbad is attributed to the late poetic-historical and scientific tradition (Abulkasim Firdausi, Nizami Ganjavi and other) creation tool barbat — short lute, which has become over time a prototype and "generative model" for the arabic oud and the general Muslim.
Both of these inventions — the first tool and system modes — were involved in the complex process of the formation of muslim models of musical culture. The formation of this civilization model was accompanied by a confrontation, the interaction and integration of various regional schools and traditions. They were perceived as real and historical facts of creation, and as symbols of different cultural traditions. The image of the Barbad was a striking symbol of the persian musical tradition.
In understanding the historical continuity of the existing traditions of the Uzbek classical music with ancient origins, you must pay special attention to the interaction of organic bases with fretted musical instruments systems. As the instrument performs the personification of a music system: bow kobyz — ancient Turkic epic and throat singing; saz-dutar — dastans (musical poems) and ancient "Dutar maqoms" Khorezm; Barbat — Horasan system "Tunes Barbad"; tanbur — maverannahr maqoms school. This principle is in essence based on the traditions of the so-called "practical theory", which is then in the time of Farabi was called
"practical science of music", opposed to "theoretical science of music".
Practical theory, deeply fused in musical reality was very tenacious tradition in the conditions of existence of the oral music of high style. The principles of its sustainable transition from one era to another. Even in times of universal system of "community theory", practical science remained in demand in a variety of regional traditions for example, Muhammad Nishapuri school in Khorasan.
The second very important point in the history of musical thought is — becoming the canonical modal system, which was the forerunner of classical music, in the highest sense of the term, in the Muslim world. Therefore, music system Barbad, as the first decisive step in this direction deserves special consideration.
Another difference Khorezm music poems from other epic tales that are performed, accompanied by an instrumental ensemble composed dutar, brass instrument bulaman or three-stringed gidjak and doira. This tool is the leading dutar. He seems to regulate the different keys, melodic foundation epics, on the similarity in tanbour Shashmaqom system. In Khorezm dutar also called "saz". In the test of Navoi, the term has a broader meaning. In summary, the value of all musical instrument with a long neck, including dutar. Second — is the personification of the start of the melodic, modal base system, music, harmony — in the sense that these concepts are put into Ancient Greeks.
Since the beginning of the XX century instead dutar Khorezm Bakhshi began to use tar, which has a loud sound. In Khorezm, unlike Azerbaijani container, the scale on the fretboard is equipped similarly to dutar. Performed on it too traditional touches dutar.
Bulaman, gidjak or serve as a means to strengthen and support on the melody line of song and music dastans. It is especially important for large concurrences of folk when epics are performed in large rooms or outdoors.
Doira emphasizes usul — metroritmik basis epos of musical numbers.
Thus, due to the ordering modal, melodic and musical poem metroritmik bases of Khorezm style approach to the pop musical language. However, un-
like maqoms in dastans still not totally identified and rhythm modal base. It is only planned as a random (non-systematic) single non-systematic names of some of the most established names melodic complexes [2].
Among Khorezm dastans has an epic poem called Kambar Ata. In addition to AkzoNobel Khorezm widespread ancient melody "Alikambar". As far as the images of the Kambar Ata and Alikambar linked, it is difficult for us to judge today. However, the fact that this tune, common in instrumental and vocal versions, until recently wore a sacred meaning. Even before the middle of the last century, every ritual and ritual music playing in Khorezm, started with a solo or ensemble performance Alikambar melodies. More then, for a long time in Khorezm there is an iconic "song-risola" to the tune ofAlikam-bar, which serves some guidance — code musicians. It the light of world history are displayed moral and ethical norms and rules of life and activities of singers, musicians and Bakhshi.
The following eleven titles of the Dutar maqoms: Irok, Chapandoz, Mugulcha, Navoi, Sadri Irok, Roviy, Orazi Bom, Tashniz, Madun Dali, Okh Yor and Miskin are mentioned in the book «Essays on history of Khorezm music». In the performing practice, they are not played in a definite, established order.
This fact also proves that the Dutar maqoms are based on the principle of simple row arrangement.
As a whole, the Dutar maqoms are a multivariable and multi-layer phenomenon. Among the above-named eleven titles, there are examples of pieces of music which historic roots ascend to mytho-epical or musical-poetic traditions of Central Asia. There are also compositions conjugated with legends, traditions and other ceremonial and cultic events. For instance, there are legends around the Alikambar, Madjnun-dali, Orazi bom and other Dutar maqoms that help us look into the deep archaic roots of the Uzbek classical music.
Yet, the most interesting and beneficial primary source of information about the Dutar maqoms of Khorezm are the notations by Muhammad Ka-mil Devani (1887-1938) made in the middle of the 20s of the 20th century. He was an outstanding personality and his creative legacy is of pro-
found importance from the viewpoint of history and scientific basis of the Dutar maqoms. The most valuable point is that he has left us the unique notations of seven cycles of the Dutar maqoms
with authentic identification of nomenalogy of the rhythmical formulas components as well as a detailed syntactic segmentation of musical structures and poetic texts.
References:
1. Uspenskiy V. A. Classical music uzbeks. - T., - 1927.
2. Matyakubov B. Doston navolari/Melodies dastan. - T., - 2009.
DOI: http://dx.doi.org/10.20534/EJA-17-1-24-28
Mirtalipova Iroda, 1-course senior scientific employee-competitor State conservatory of Uzbekistan. Tashkent, Republic of Uzbekistan E-mail: navouzbek@mail.ru
Oriental microchromatics and its role in the creativeness of the Uzbekistan composers
Abstract: Oriental tunes were represented by western modern music examples. It is to be noted that the composer has met his goal because the listener can feel the oriental spiro in the work.
In conclusion, it serves as the facilitator to the prospect of creativity of such Uzbekistan composers as D. Saidaminova, D. Yanov-Yanovskiy, A. Kim, P. Medyulanova, etc.
Keywords: composers, interval, tunning, scien, music, tradition, microtone.
Microchromatics was broadly used in compos- quarter-tone interval system called it "enharmonics"
ers' music, is one of the developing trends, and is based on splitting the half tone which is the smallest interval of the equally distributed keyboard tuning into even smaller intervals.
This phenomenon called microchromatics includes the study of historical stages of many centuries.
This phenomenon was given different terms in the study of oriental and western music. For instance: enharmon, neutral intervals, a complex of ornaments (ornamentation), tender note, ultratonics, microtone.
Y. N. Holopov, a scientist, was the first to describe in detail the term microchromatics.
The root of microchromatics pertains to the theory of Hellenic music. Quarter-tone microchromatics was widely spread in musics of ancient Greece and Rome, was one of the existing three interval systems. The Greek theoreticians described micro-chromatics and having reviewed it as an individual
[1, 545-550].
In the 9th-10th centuries, the science of music that was added to the sphere of several research, independent sciences, emerged as a result of mixture of various cultures, i. e. saturated with such local musical traditions as Central Asian and Iranian, it synthetized the achievements the musical theoretical mentality of other countries and peoples.
In those times, the Greek science flowed with a broad stream into the cultural centers of Central and Middle Asia. In the 9th century, "The House of Wisdom" was established in Bagdad and one of its tasks was to translate Greek works and supplement with interpretations.
The seventeen-step series of sounds was discovered during the times of Forobi and Avicenna, but its latest shape developed in the 13th century and was further reinforced in the works of theoreticians who lived and worked in the following centuries.
