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FROM THE HISTORY OF THE UYGHUR MUQAMS
Jilizirehan A.
Jilizirehan Abulaiti - Co-worker, UZBEK NATIONAL CENTER FOR MAQOM ART, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the Uyghur 12 muqams have been rearranged and changed several times over the years. In particular, in the 4 th century, the tunes "Kumul Buyuk Kuy", "Kucha", "Kuchu", "Kashgar", "Khotan" spread from the "Great Melodies". Based on the facts recorded in the musical descriptions of "Veynom" and "Suinom", information is provided that the earliest melodic themes of muqams were systematically systematized with the names "Great Melodies" and "Dachui". It is assumed that melodic systems received further development in the 6th century. During the period from the 6th to the 10th centuries, the muqam melodies, which spread among the people in all places, were further developed and integrated with each other. Keywords: mukam, music, sound, melody, theory, art, musicologist, scientist.
ИЗ ИСТОРИИ УЙГУРСКИХ МУКАМОВ Джилизирехан А.
Джилизирехан Абулаити - Сотрудник, Узбекский национальный центр макомного искусства, г. Ташкент, Республика Узбекистан
Аннотация: уйгурские 12 мукамы на протяжении многих лет несколько раз переставлялись и менялись. В частности, IV веке из «Великие мелодии» распространились напевы «Кумул буюк куй», «Куча», «Кучу», «Кашгар», «Хотан». На основании фактов, зафиксированных в нотном описании «Вейнома» и «Суйнома», приводятся сведения о том, что самые ранние мелодические темы мукамов систематически систематизировались с названиями «Великие мелодии» и «Дачуй». Предполагается, что дальнейшее развитие мелодических систем получила в VI веке. В период с VI по X век мелодии мукама, распространившиеся среди народа во всех местах, получили дальнейшее развитие и интегрированы друг друга.
Ключевые слова: мукам, музыка, звук, мелодия, теория, искусство, музыковед, ученый.
By the 12th-13th centuries, the name "Great tune" was replaced by the Arabic name muqam. By the 14th century, the words "chong nagma" and "big melody" were completely replaced by the name "muqam". During the Karakhanid period (870-1213), the well-known musicologist of the Republic of Kozogistan, Botir Arshidinov, Uyghur music with the theory of 12-tempered tunes, the types of music and instruments expanded to Mavorunnakhr, Khorasan and even to India. At the same time, the Uyghur nagma tradition developed towards perfection. The views of the famous musicologist Sujub, who said that the rule of 12 Uyghur numbers came from the street, "7 voices remained from the 12-step melody law" of the 6th century, are similar to the above.
According to the research results of scientists and musicologists, all the positions of the peoples of the East were arranged several times in the historical process from the 14th to the 15th century.
"Uyghur 12 Muqami" in history has gone through the stages of rejection, systematization and regularization as above.
The period of the Yarkan Khanate.
The great Yarkan Khanate, which lasted from the end of the 19th century to the end of the 16th century, has disappeared, its golden palaces have also crumbled to the ground, but its spiritual edginess has remained with us forever in the tune of the Uyghur classic 12 Muqam centuries.
During the Yarkan khanate, economy and culture flourished in Uyghur history. It was a peaceful period when people established peace and prosperity. Sultan Said Khan (1486-1533) and his successor Sultan Abdurashitkhan (1510-1560), Abdukerim Khan (1528-1591), Abdullah Khan (1627-1665) were wise, fair, wise and strong khans. They attached great importance to science, culture, and art, and supported the people of knowledge. Many scientists, poets, and Mughonists came to this during the previous and later periods of the Yarkan Khanate, leaving the rich cultural heritage of our people. The rejection of Bulibmi Uyghur 12 situation is the most obvious result of Yarkan khanate in the field of culture in systematization.
Based on historical sources, Sultan Abdurashid Khan was a king with the ability to negotiate. he was not only the owner of great political and military qualities, but also a famous musician, calligrapher and poet of that time. Abdurashid Khan was peerless in every work, according to the famous historian Muhammed Jurasi during the Rkan Khanate's work titled "Tarikhi Rashidi". The master of scientific music was a musannif (book crusher). In
the "Historical Aminiya" of Mullah Musa Sayromy (1836-1917), a famous Uyghur historian who won in the history of modern times, information is given that Abdurashidkhan was the 2nd figurehead in music.
Poet and musicologist Mulla Ismatillo Binni Mullah Ne'matullo (pseudonym-Mujiza) from Khotan wrote poems about composers and musicians during the period of the Yarkan khanate, which were commemorated in "Taworihi Muzkiyun" in 1854-1855. had given information.
Looking at her poems in "Taworihi Musiqiyun", Princess Amanisakhan (1523-1557) actually grew up in a noble family, and was fond of poetry, eulogy, and sattar from the beginning. Sharkhi) and created a poem called "Ishrat Angiz" (the harbinger of happiness) and was admired for his talent in art. She became the wife of Abdurashid Khan, and after entering Urda, she gathered talented Uyghur descendants, who were taken away by Mongolian invaders, to become musicians. Under the guidance of the famous muqamologist musician Kedirkhan, they rejected, copied and performed Uyghur muqams, epics and mashraps once.
According to "Taworihi Muzkiyun", Kedirkhan (1562) was a good-voiced musician and a leading poet of this period, he is the author of a collection of poets called "Devon Kedri", as well as the creator of a maqam called "Visol", Iran, Iraq, Kashmir, Balkh, Khorezm, is a famous teacher and composer who gives special education in music to students from a number of distant cities in Turkey. At the initiative of Kedirkhan Amanisan, he played a fundamental role in rejecting the Uyghur 12 Muqam and reforming its texts.
Muqams were also rejected by "Zukhriddin Hakimbek" and "Alisher Hakimbek" during the Chin dynasty. Muhammad Damolla, Ruzi Tanbur, Hassan Tanbur, Husain Tanbur, Zikri Alpattas were rejected in the revolution of the three regions. Zikri Alpatta (1915-1987) created "Rukhsori Mukami" in 1939. After liberation, it was rejected at three levels. In 1951-1960, 12 Uyghur muqamis were recorded on a tape. The leader of the Uyghur people, Saypidin Azizi, was the initiator of this and sent a request to the Chinese President Joe In Lai on this issue, which was later implemented. In this process, senior teachers Turdakhun Ota, Ruzi Tanbur, Kosim Alnagma, Ruzi Ashur, Tursun Kakhkhor took part in the process of crushing gramophone records. Crushed wire tapes and notes from the 1960s are still used as the most valuable material.
Uyghur muqams have a really long history, are wide-ranging in nature, rich in tones, and have a complex system of methods unique to the Uyghur people. In the maqamat system, they are known as Uyghur classical music, Twelve muqamat. Muqams are the most valuable musical examples in Uyghur folk music. Twelve muqam is the leading classical genre in the traditional music culture of the Uyghur people. They not only have an extremely important place in the music culture not only in Central Asia, but also in the whole world, they are called a jewel in the treasure of Eastern music and great songs in Eastern music culture.
Historical written sources contain valuable information about ancient Uyghur music.
By the 16th century, under the leadership of Sultan Abdurashid Khan, Khan of the Saidiya Khanate, Khan "Amannisa Khan" and his teacher Muqomologist "Kedir Khan Yarkandi" organized the Uyghur muqams for the first time. After that, the Uyghur muqoms went through various difficulties, and the famous muqomologist Father Turdiahun (1881-1956) handed down to us 245 nagmas in total. At the same time, with the work of several generations of muqam masters, such as master muqamologists, father Iminahun (1838-1949), brothers Helim-Selim, Mollahun Muqam Setivaldi, our muqam has reached our time with their great services. After 1986, the number of rejected and approved nagmas reached 320. However, the branches of the muqam have not yet been fully discovered. After the 1990s, more than 40 nagmas were found among the people, and the "12 Uyghur muqams" are still going through the stage of writing down and compiling the Uyghur muqams. In recent years, the muqams have become more concentrated, and their melodies have reached about 360 nagams. The number of verses of classical poets has reached 4493, and video discs are being developed. Translations, booklets, sheet music collections, melodic copies of performance samples are published in various languages and widely distributed around the world.
The Uyghur muqams also initially consisted of 18 muqam roads. They are 1) Rak, 2) Dugoh, 3) Segoh, 4) Chorgoh, 5) Panjgoh, 6) Ushshaq, 7) Navo, 8) Ozhol, 9) Ajam, 10) Bayot, 11) Chabbiyat, 12) Mushovirak, 13) Iraq, 14) Hijaz, 15) Wisol, 16) Ishrat Angiz, 17) Obi Chashma, 18) Nowruz. In the 16th century, for the first time, muqams were combined according to the character of their rejected sound series, and they were systematized and brought to the state of 12 muqams. The art of muqam has been performed in this way for almost four centuries and has been passed down from generation to generation through traditions from teachers to students.
References / Список литературы
1. O. Matyoqubov. Maqomot. Toshkent, 2004.
