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ТЕОРИЯ, МЕТОДИКА И ОРГАНИЗАЦИЯ СОЦИАЛЬНО-КУЛЬТУРНОЙ ДЕЯТЕЛЬНОСТИ
MAKOM ART IS A PRIORITY IN THE MUSICAL CULTURE OF UZBEKISTAN Ramazonova U.^1, Sayfullaeva O.2
'Ramazonova Ug 'iloy Holmurodovna — Teacher, DEPARTMENT OF MUSIC EDUCATION;
2Sayfullaeva Oqila — Student, FACULTY OF ART CRITICISM, BUKHARA STATE UNIVERSITY, BUKHARA, REPUBLIC OF UZBEKISTAN
Abstract: "makom" is a universal concept expressing one of the highest manifestations of Oriental musical thinking, including Uzbek classical music. In various musical traditions, the terms poppy and "makomat" separately are used in many meanings and with subtle semantic nuances. The most common of them, for example, are: music, musical thought, musical logic, musical language, mood, genre, genre system, musical code, musical cycle, one-part vocal, instrumental or vocal-instrumental work.
Keywords: "maqom", " maqomat", instrument, work, vocal, genre, theory, practice, treatise.
"Maqom" is a unique phenomenon of the artistic culture of the peoples of the Near and Middle East, having ancient pre-Islamic roots of origin, the formation and development of which is associated with the era of the "Eastern Renaissance". In the middle ages (IX-XVI century) in the orally-professional formation of musical art system "Maqomata" occupies a leading position ("Maqona" the system of 12 "maqoms", "Duvozdah Maqom"), the proof of the theoretical basis of "maqoms" in the "Treatise on music" scientists, thinkers, and composers, poets ranging from Farabi to dervish Ali Changi, from Barbuda to Alisher Navoi, where they developed the theory of Matamata closely related to musical practice for centuries have had an undeniable dominance in musical science and art. In the late middle ages (XVIII-XIX centuries), processes took place that for a long time determined the ways of further development of such art - the tendency to localization increased, which led to the formation of specific features of the Eastern "maqomat" system ("makam, mugam, makom, mukam, dastgyah, Nuba").
"Maqom" art - formation (Bukhara "Shashmakom"), formation and development (cycles "Khorezm makoms" and "Ferghana-Tashkent makoms", "makom" varieties for "dutar" and "surnay", instrumental and vocal works). New attitude to Macom art-musical notation and publication of such collections; mastering the traditions of the new system of music education (from primary to senior level), while maintaining the traditional teaching method "Ustoz-shogird" (master-student); research development and practical activities; use in composer ("bastakor" the Creator of the music samples in the oral tradition) and the composers creativity.
Uzbek "maqom" art is a priority in musical culture; preservation and protection of it as an object of intangible cultural heritage; "Shashmakom" - a masterpiece of the national Museum of mankind (2003, 2008); revival and development under the status of "national" ("milliy"). The XXI century is a new stage in the further development of Uzbek "maqom" art: the decree Of the President of the Republic of Uzbekistan sh. m. Mirziyoyev (November, 2017), which provides for the main directions -organizational, research and practical. The main trends are preservation and protection, development and popularization of the Uzbek national art of "maqom". Organizational -creation and functioning of the Republican center for "maqom" art, which will be engaged in research (issues of history, theory and performance of "maqoms") and practical orientation (activities of the "maqom" ensemble, festivals, competitions, publications, educational process, etc.). Since January 2018, the entire focus is coordinated by the Republican and zonal centers of such art. The center creates a laboratory for improving folk musical instruments, taking into account their specific performance traditions. And the main thing is to popularize Uzbek art of "maqom" and its place in the world music culture. A significant event was the holding for the first time in the city of Shakhrisabz (hometown of Amir Temur, 6-10 September 2018) International festival of "maqom" arts (participated in more than 70 countries), in which hosted the international conference "Maqom" art and its significance in the world civilization" with the participation of scientists, musicologists foreign countries and the CIS, as well as
the competition "maqom" performance - "maqom" ensembles and performers (instrumentalists and singers from 29 countries), the opening of the makom Museum, a fair of artistic crafts and a demonstration of the musical heritage of all regions of Uzbekistan with the participation of folklore and such ensembles.
The educational process-a living tradition of Uzbek "maqom" was mastered by the traditional method of "Ustoz-shogird" (master-pupil), and in the musical practice of "khorezm", a kind of musical notation "tanburnaya notopis" was used, created in the last quarter of the XIX century in Khiva. XX century - a new attitude to traditional music; in the history of musical cultures of the peoples of Central Asia, the era of turning the age-old traditions and finding ways to update it, introducing a universal music system, creating a new system of music education. In this regard, in the 20-ies of XX century, opening in Bukhara Oriental music school (use of the "Shashmakom") and the first record "Shashmakom" Russian composer V. A. Uspensky, also published in Moscow ("Shasta tone poems (of "maqoms")", 1924), was initiated by the well-known public figure of Bukhara, playwright and scholar, Abdurauf Fitrat (the author of the book "Uzbek classical music", 1927). In the presence of major masters of makom art, students and students of the Turkestan people's Conservatory (Tashkent, 1919)and the Research Institute for the study of Uzbek folk and classical music, which initially also served as an educational institution (Inmuzhoruz, Samarkand, 1928; since 1932-the Institute of art studies in Tashkent) were encouraged to master the traditions of performing Uzbek makom (Shashmakom cycles, Khorezm and Ferghana-Tashkent makoms). 30-60-ies-crisis, traditional music is declared obsolete heritage, although work on recording makoms continues (records of "Shashmakom" by B. fayzullayev, sh. Sahibov and F. Shakhobov, 1950-1961; Yunus Rajabi, 1959, 1966-1975; records of Khorezm "maqoms" by M. Yusupov, 1958, 1980-1988). The opening of the Department of Oriental music at the Tashkent Conservatory in 1972 made it possible for young performers to master and develop the musical traditions of the Uzbek "maqomat", and to organize professional and Amateur "maqom" ensembles; conducting national competitions for "maqom" performers, as well as large-scale scientific study of "maqom" art at the State Conservatory (as evidenced by International and Republican scientific conferences on "maqom" in Tashkent, Samarkand, Dushanbe, Almaty, etc.).
The XXI century is the revival and further development of the Uzbek national "maqom" art, in particular in the field of education organization of the faculty of "maqom" and the Department "History and theory Uzbek maqom", introduction in educational process of system of music education (from primary to higher education) for new academic subjects on the history, theory and performance of the Uzbek "maqom", respectively, the preparation and publication of textbooks and training of young cadres of musicologists and Mahmoudov and performers on the basis of scientific-theoretical research and practical experience. All this is evidence that we are now on the threshold of a" Renaissance " of scientific study and practical development of the fundamental foundations of the Uzbek "maqomat".
"Maqom"s were and will be a kind of phenomenon of spiritual culture of Uzbekistan, and the key to this is their preservation, development and popularization. The identity of the Uzbek "maqomat" is determined by the degree of mastering the universals of "makom" art through the prism of musical and artistic values of culture, which also caused the impulses of their functioning. They are a living tradition, thanks to the carriers of the older and middle generation of musicians and singers who preserve and continue to develop this priceless heritage of the people.
References
1. Matyakubov O. Uzbek classical music. 1 Vol. Tashkent, 2015.
2. Abdullayev R., Khakimov A. and others. Of the Intangible cultural heritage of Uzbekistan (in
Uzbek. and ang. yaz.). Tashkent, 2017.
