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HISTORY OF STUDYING THE GENRE OF UZBEK RITUAL WEDDING FOLKLORE Kasimova Z.F. Email: Kasimova17149@scientifictext.ru
Kasimova Zukhrakhan Fatkhiddinovna - Teacher, DEPARTMENT OF RUSSIAN LANGUAGE AND LITERATURE, PHILOLOGY FACULTY, ANDIJAN STATE UNIVERSITY, ANDIJAN, REPUBLIC OF UZBEKISTAN
Abstract: this article under discussion deals with the history of studying the genre of Uzbek ritual wedding folklore in Fergana Valley. The author of the article believes that the wedding ritual folklore, being a system of poetic text formed on the basis of ancient ethnocultural values of our ancestors, beliefs and traditions, the songs and verdicts preserved to our days and give an opportunity to make certain conclusions about genre composition, history of formation and historical-evolutionary development of Uzbek wedding folklore in the form of remnants of traditional folklore, i.e. post-folklore. Wedding ritual songs of the Fergana Valley have peculiar functional and semantic features, coming from the vital and everyday orientation of this or that custom, tradition and ritual, which are different from other folklore genres.
Keywords: folklore, wedding ceremony, local peculiarities, historical, genre, composition, bride, groom, analysis, territorial and local, beloved, ancient, language.
ИСТОРИЯ ИЗУЧЕНИЯ ЖАНРОВОГО СОСТАВА УЗБЕКСКОГО ОБРЯДОВОГО СВАДЕБНОГО ФОЛЬКЛОРА Касимова З.Ф.
Касимова Зухрахан Фатхиддиновна - преподаватель, кафедра русского языка и литературы, факультет филологии, Андижанский государственный университет, г. Андижан, Республика Узбекистан
Аннотация: данная статья рассматривает вопросы истории изучения фольклора узбекских свадебных обрядов в Ферганской долине. Автор статьи считает, что свадебный обрядовый фольклор, являясь системой поэтического текста, образованной на основе древних этнокультурных ценностей наших предков, верований и традиций, сохранившиеся до наших дней песни и приговорки дают возможность сделать определенные заключения, пусть и в форме остатков традиционного фольклора, то есть постфольклора, о жанровом составе, истории формирования и историко-эволюционном развитии узбекского свадебного фольклора. Свадебные обрядовые песни Ферганской долины имеют своеобразные функционально-семантические особенности, исходящие из жизненно-бытовой направленности того или иного обычая, традиции и обряда, чем отличаются от других жанров фольклора.
Ключевые слова: фольклор, свадебный обряд, локальные особенности, исторический, жанровый, состав, невеста, жених, анализ, территориально-локальный, возлюбленная, древний, язык.
UDC 801.81
Uzbek music is closely connected with the musical culture of the whole Central Asia, but at the same time it is deeply peculiar. The folk music of the Uzbek people has four main local styles: Khorezm, Bukhara, Samarkand, Fergana, Tashkent, Surkhandarya and Kashkadarya. These emerged as a result of the ethnic community and the similarity of the socio-economic conditions of the population of certain provinces (zones) of Uzbekistan in previous centuries. The zones differ from one another by some features of everyday life, song and instrumental genres and musical instruments. For example, in Bukhara and
Khorezm zones there were widely existing makoms, while in Surkhandarya and Kashkadarya regions there were plays for dombra and dastans, and in Fergana valley there were song genres with musical and poetic features typical for this area. Especially Ferghana is famous for the genre of katta-ashula, or panys-ashula. Musical folk art is monotypic in its essence (monotonous). Being a reflection of life and everyday life of the people, it is characterized by multi-faceted themes and diversity of genres. In folk music, in accordance with its functions, two groups of songs and instrumental pieces can be distinguished, as in other peoples: performed at a certain time, under the intended circumstances and performed at any time, regardless of the situation. The former are related to rites, work processes, festivals, various ceremonies, theatrical performances and games.
The Ferghana local music style is understood as a set of characteristic musical traditions established in the territory of the Ferghana Valley. It reflects such genres of folk music as kui, terma, lapar, yalla, koshuk, ashula, and professional music genres - dastan, katta ashula, poppy. In the Ferghana local music style, children's folklore and women's song art occupy a prominent place. Among women, the paws and ashula are particularly popular, and among the wedding ceremonies - "Yor-yor" and "Kelin Salom" ("Bride's Greeting"), without those songs it is impossible to imagine Uzbek wedding rituals .
Customs and traditions of musical folklore of Uzbekistan were formed over a long period of time of the historical period. They are related both to the living and living conditions, the work of people, and to various folk customs, rites and festivals. Uzbek classical music in its The structure is very rich, there are a lot of songs and melodies.
Certain studies have been done to collect, research and publish folklore of Uzbek wedding rites. Specific artistic peculiarities and genre nature of wedding songs have been studied by folklorists M.Alaviya and B.Sarimskov [1] . Professor O.Safarov, who was one of the first who started to study the territorial and local peculiarities of the Uzbek wedding rites folklore, based on the materials recorded from the mouths of informants from Bukhara and Navoi regions published the first study on the folklore of customs "Kelin otirsin", "Kuyov otirsin", "kelin eltish" and "kuyov eltish" [2]. S.Davlatov classified the wedding ritual genres of the population of the Kashkadarya Valley [3]. L.Khudoikulova established a connection between the historical roots of ritual songs of Surkhandarya region and the culture of ancient Bactrian and Kushan [4]. M.Zhuraev in his book "Rite "Kelin Tushdi" on the basis of materials recorded in Karasuva district of Andijan region analyzed the rites and songs associated with the process of bringing the bride to the groom's house [5] . O.Ismonova studied the genre composition of family and household ritual folklore of the Ferghana Valley and the territorial peculiarities of the songs "Kelin Salom" [6]. N.R.Kuronboeva, a researcher of Khorezm wedding songs, established the historical and genetic commonality of the wedding rite folklore with the Uzbek traditions and their local peculiarities. In addition, articles by U. Jumanazarov [1] G. Tosheva [2] F. Hayitova [3] and H. Holova [4] analyzed the materials of Uzbek wedding folklore of "olkish" and "yor-yor" genres. As a result of the research, it was established that customs and rites in Uzbek wedding rites and their verbal components have peculiar territorial and local features.
The genres of the Uzbek wedding ritual folklore are divided into three types: a) the folklore of the rites of preparation for the wedding; b) the songs and verdicts performed during the wedding; c) the folklore of the rites held after the wedding. According to tradition, the wedding ceremony begins with the matchmaking process. Matchmaking is one of the oldest revered and sacred customs of Uzbek people. The history of the origin of the word "sovchi" is associated with the lexeme "sav", which in the language of the ancient Turks means "word", "news", "story" [5].
The word "yer" as part of the term "yor-yor", which means the name of the genre, goes back to the lexeme "yir" / "jir", which in ancient times was used in the meaning of "song", "melody". In folklore of some Turkic peoples the word "yir/jir" is actively used in the meaning of "song", "melody". Besides, there is one more assumption according to which the genre is called "yor-yor" repeating after each line of the rediff, because the song is mainly
addressed to the beloved, has the content of characteristic and chanting beauty of the beloved [6].
The performance of the song "beth ochar" after the wedding during the rite "yuzini ochish", performed to introduce the bride to the groom's family and his relatives, neighbors, then the performance of the rite "kelin salom", peculiar to sedentary culture, is a syncretic tradition formed with the way of life of the pastoral and agricultural population of the valley. The presence of a peculiar artistic expression in the poetic text, the direct connection of the executed text with the content of this or that custom, the absence of strictly defined genre features, artistry, variability and regional and local peculiarities of the process of performance are considered the leading features of the wedding ritual folklore.
References / Список литературы
1. Jumanazarov U. The genre of applause in wedding folklore // Issues of Uzbek folklore. Tashkent: Fan., 2010. P.p. 100-107.
2. Tosheva G. Directions and principles of Uzbek-Tajik wedding folklore relations // Uzbek language and literature. Tashkent, 1993. Issue 4. P.p. 39-42.
3. Hayitova F. Expression of the content of the prayer in wedding songs // Uzbek language and literature. Tashkent, 1997. Issue 4. P.p. 64-65.
4. Xolova X. Some notes on the song "Ishimma" // Uzbek language and literature. Tashkent, 1998. Issue 5. P.p. 51-53.
5. Kashgari Mahmud. Devonian dictionary Turkish. Tashkent: Fan, 1960. P.p. 214-215.
6. Murodova M.Sh. Literary peculiarities and genres structure of Uzbek wedding folklore (on the materials of the Middle Zerafshan Oasis) Dissertation abstract for PhD on philological sciences. Tashkent. 2018.
