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Республики был награжден М. Кариякубов; в 1930-60 гг. были награждены исполнители "катта ашула" Эрка Кори Каримов, Маматбува Саттаров, Акбар Хайдаров, Мамъуржон Узоков, Джурахон Султанов (1939); Бобохон и Акмалхон Суфихоновы (1944); Шокосим Шоджалилов (1950) был удостоин звания народный хафиз Узбекистана.
После обретения Узбекистаном независимости этот процесс продолжился более традиционным образом, и в 1991-1999 годах этого звания были удостоены Фаттоххон Мамадалиев, Орифхон Хотамов, Мухаммаджон Каримов, Ачилхон Отахонов, Кувондик Искандаров, Одилджон Юсупов, Рузмат Джуманиязов, Эсон Лутфуллаев. В XXI веке, появилась новая плеяда народных певцов, таких как Хасан Раджаби, Олмас Саиджанов, Исмаилжон и Исроилжон Вахобовы, Махмуд Юлдашев, Махмуд Таджибоев, Бекназар Дустмуродов, Фарход Давлетов, Набиджон Ибрагимов, Саиб Ниязов, Машраб Эрматов и Эркин Рузиматов.
Традиции искусства хафизов помолодели в творчестве представителей новой эпохи. Среди исполнителей макома и классической музыки молодые таланты демонстрируют свое искусство. Национальные ценности искусства хафизов продолжают развиваться в творческой практике молодых квалифицированных исполнителей. Это связано с тем, что Президент Республики Узбекистан уделяет большое внимание искусству «Маком» и создает возможности для интеграции традиционной музыки в современный образовательный процесс. Самое главное, что традиции учителей исполняются молодым поколением. Это возможно только в том случае, если исполнение пронизано знаниями учителя и наукой интерпретации, а факторы интерпретации усвоены на основе творческих взаимоотношений. В связи с этим мы верим, что будущее Нового Узбекистана будет достойным его великих детей!
Список литературы /References
1. Национальная энциклопедия Узбекистана. Том 11. Т., 2005.
2. Бегматов С. Искусство Хафизов. Т., 2007.
FROM THE HISTORY OF KHOREZM MUSIC Abulaiti J. Email: Abulaiti17166@scientifictext.ru
Abulaiti Jilizirehan - independent Applicant, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: in 1934, an expedition to Khiva was organized by musicologists E.E. Romanovskaya and I.A.Akbarov to record maqoms. The background of this action is as follows: V.A. Uspensky at one time long sought from the Government of Uzbekistan to allocate funds for a trip to Khorezm. In a letter to V. Belyaev, he calls Khorezm "Musical Mecca" and from a scientific and ethnographic expedition to this land he expects an answer to key questions related to the origins of Uzbek classical music.
Keywords: music, culture, school, origins, makomat, education, tradition, musicologist, notation.
ИЗ ИСТОРИИ ХОРЕЗМСКОЙ МУЗЫКИ Абулайти Д.
Абулайти Джилизирехан - самостоятельный соискатель, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: в 1934 году была организована экспедиция в Хиву в составе музыковедов Е.Е. Романовской и И.А. Акбарова для записи макомов. Предыстория этой акции такова: В.А. Успенский в свое время долго добивался от Правительства Узбекистана выделения средств, для поездки в Хорезм. В письме к В. Беляеву он называет Хорезм «Музыкальной Меккой» и от научно-этнографической экспедиции в этот край ждет ответа на ключевые вопросы, связанные с истоками узбекской классической музыки.
Ключевые слова: музыка, культура, школа, истоки, макомат, образование, традиция, музыковед, нотация.
ПБС 078
During the Turkmen expedition of 1927-1928, being very close to Khorezm, V.A. Ouspensky vividly asks the oldest musicians about the musical traditions of this ancient center of culture. But by 1934, by order of the Government of Uzbekistan, he was engaged in work on the opera "Farhad and Shirin" and was forced to send his students E. Romanovskaya and I. Akbarov to the "Khorezm Expedition".
E. Romanovskaya is the wife of the famous mathematician, one of the founders of the Turkistan University R.I. Romanovsky, the founder of a new school of mathematics. She is a student of B.V. Asafiev and received an excellent education in musicology at the St. Petersburg Conservatory. Upon arrival in Tashkent, she became an associate of V. Uspensky, before that she was mainly focused on the sphere of women's and children's musical folklore.
In Tashkent and Fergana, E. Romanovskaya together with Khafiya Mukhammedova (wife of Ilyas Akbarov, a student of V. Uspensky) recorded women's folklore and songs from the new collective farm life. At the same time, a student of V. Uspensky, still a young and inexperienced musicologist I. Akbarov, was engaged in organizational issues and the recording of verbal texts of songs and makoms. E. Romanovskaya at the beginning of her musical and ethnographic activity did not yet have much experience and professional skills, just as V. Uspensky found it difficult to record the sounding work on the fly. Therefore, in the performance of the great master Matyakub Harrat, they recorded parts of the maqoms from the beginning on gramophone rollers, then deciphered the musical text from them [1].
E. Romanovskaya and I. Akbarov recorded Tanburye maqoms from Matyakub Kharratov on a gramophone with wax rollers. The storage quality of the audio tracks in them was rather weak. And the decryption required multiple scrolling through these records. Consequently, the rollers quickly failed. According to I. Akbarov's oral recollections, the rollers soon became unusable and were disposed of.
Initially, it was known that the censorship would not allow the verbal texts of the vocal parts of the Sufi persuasion. Therefore, as with V. Uspensky in his work on the Bukhara Shashmak, the course was taken to the "tanbur" version, that is, the recording of maqoms without poetic texts. According to I.A. Akbarov, he wrote down poetic texts separately.
At the same time, not having an appropriate education (I. Akbarov did not study in a madrasah, but knew the Arabic script at the primary school level), the young musicologist experienced great difficulties in comprehending the content of the poetic texts of the maqoms. And the poems in the Tajik language were at all difficult to understand. Thus, the musical materials published by E. Romanovskaya in 1939 under the title "Khorezm
Classical Music" cannot be considered completely reliable texts of the Six and a Half Maqoms of Khorezm.
The repressions of 1937 affected the great masters, the last of the Mohicans Matyakub Harrat (1864-1939) and Muhammad Kamil Devani (1887-1938). The tragic death of these two enlightened giants of the classical music of Khorezm closes the "golden page" of the maqom art of this tradition. Fortunately, unique manuscripts of tanbur notation have survived from them, in which musical and verbal texts of the Six and a Half Maqoms and Dutar Maqoms of Khorezm are recorded.
In 1958, in the series "Uzbek khalk muzikasi", volume I was published, which, although a priori called "Khorezm maqoms," actually covers an incomplete version of only Six and a half maqoms and without Dutar maqoms at all [2]. Unlike the recordings of E. Romanovskaya, which never entered wide use, Matniyaz Yusupov's collection dedicated to the Khorezm maqoms was presented as a musical text that had passed the appropriate censorship.
Consequently, this material in state educational institutions and scientific institutions was perceived as an official document. Curricula and scientific research were based on them. For a complete picture of the paradoxicality of the situation with the recording of the maqoms of Khorezm in the European notation system, it should be noted that only the master-carriers did not react to the publication and expressed their "tacit disagreement".
This was a whole generation of musicians, ranging from popular singers and instrumentalists to renowned experts in the maqom traditions of Khorezm, who were respected far beyond Khorezm: Khadzhikhan Boltaev, Kamiljan Ataniyazov, Allanazar Khasanov, Ruzmat Jumaniyazov and others. They, of course, did not publicly express their disagreement with the content of the music collections. It was not in their code of conduct.
This is perhaps the main and fundamental difference between the musical notations of Yunus Rajabi in the new historical version, which we call the "Uzbek Shashmak", and the Khorezm maqoms in the interpretation of Matniyaz Yusupov. They were created at about the same time, but according to the very approach to the object of study and verification of musical notations.
The most annoying thing in this process of delusions and pseudoscientific judgments is that there is a further gap between theory and practice, which sooner or later negatively affects the fate of music collections and related scientific views. And further. There is a gradual accustoming to simplified, philistine ideas about the very phenomenon of the maqoms of Khorezm, in isolation from reality and the reliable facts of the history of their development: for example, from such a unique and unprecedented source on the foundations of the Six and a Half Maqoms and Dutar Maqoms, which are the lists of the Khorezm notation.
The situation of being in a state of varying degrees of isolation from the realities of musical practice and being content with erroneous and superficial ideas about the foundations of the Six and a Half Makoms and Dutar Maqoms of Khorezm continued until the independence of the Republic of Uzbekistan. It was she who opened access to reliable information and made it possible to return to life scientific and spiritual values that were not justly relegated to the annals of history.
In relation to not only the maqoms of Khorezm, but also the entire Uzbek maqomat, tanbur notation has become such a cherished and key source. This is not only in itself the richest and most valuable material on the theory and the immediate history of maqomat, but also a very important written document that helps to comprehend many other facts and information related to the origins of classical music in the region.
For an objective assessment of the role and significance of tanbur notation in the study of maqomat, it is necessary to consider it on the basis of specific facts and in the context of the general history of the development of Uzbek classical music. Find answers to the questions that prompted such a phenomenon as the musical notation of the complete set of Six and a Half Makoms and the most famous samples of Dutar Makoms. Find out the
reasons for the implementation of this mission by the masters themselves without outside interference, based only on internal needs. Let us turn to the nearest foreseeable history of the development of classical music in Khorezm.
References / Список литературы
1. Romanovskaya E.E. Khorezm classical music. T., 1939.
2. Uzbek khalk muzikasi / Uzbek folk music. VI volume. Khorezm maqoms. In the musical notation of Matniyaz Yusupov. T., 1958.
