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European Journal of Arts 2 (2021)
PREMIER
Publishing
Section 2. Musical arts
ISSN 2310-5666
YAK 78.021
DOI: 10.29013/EJA-21-2-36-39
N. M. KARIMOVA, 1 K. K. KARIMOVA, 1
1 Termez State University, Termez, Uzbekistan
MONOGRAM IN MUSICAL ART
Abstract. The article is dedicated to the outstanding composer D. Shostakovich, about his role in the development of the musical culture of the republic, primarily the culture of composer. The subject of study is the alphanumeric complex, the author's monogram by D. Shostakovich - DeSCH. The issue of the appearance of a monogram in the music of young composers of Uzbekistan is considered. The work considers a complex method of studying a monogram including elements of historical and cultural approaches and scientific works.
Keywords: symphony, musical culture of Uzbekistan, monogram motive, play, semantics, semiotics.
For citation: Karimova N. M. Karimova K. K. Monogram in musical art // European Journal of Arts, 2021, №2. - C. 36-39. DOI: https://doi.org/10.29013/EJA-21-2-36-39
Introduction. The art of the Uzbek people has an ancient history that goes deep into the depths. Due to the country's long history of music and the wide variety of musical styles and musical instruments, Uzbekistan is often considered one of the most musically diverse countries in Central Asia.
National composer creativity in Uzbekistan began to take shape in the mid-30 s. XX century. In this process, representatives of the Russian (Soviet) school of composer culture who arrived, played a primary role. The formation of academic musical art was based on the successful experience of Russian musical culture, in which the manifestations of the national origin are mainly associated with folklore and its implementation in a new quality in composer's work [6, P. 69]. Dmitry Shostakovich is one of the outstanding masters of culture and arts of the 20 th century, who twice visited Uzbekistan. The work of the outstanding composer entered the classical treasury of world musical culture. His artistic work had a serious impact on the formation and development of young national composing schools in the republic. Shostakovich was distinguished by his phenomenal talent and boundless skill, his music determined the philosophical and aesthetic concept - love for humanity, protest against evil and social injustice. Despite the social cataclysms taking place in the world, he created a golden fund of works, which left its mark on the musical culture of the republic.
Main part. The purpose of our work is to create a holistic view of the monogram and use it in the works of Uzbek composers. The article presents specific examples testifying to the role and influence of the personality of D. Shostakovich on the development ofthe musical culture of Uzbekistan. The work uses a complex method of studying monograms, including elements ofa historical and cultural approach, with the involvement of works related to achievements in the field of national composer creativity.
The consistent disclosure of the meaning of Shostakovich for the Uzbek musical culture is of significant relevance for the domestic musical science. The study of this scientific profile is relevant for modern musicology, in which the most important task is to study the interaction of musical cultures of the East and West. On this occasion, Dmitry Shostakovich at the VIII International Music Congress in 1971 in Moscow clearly spoke out: "It seems to me that one ofthe natural and logical forms ofthe development of a national tradition is not only its direct connection with the surrounding reality, with new social conditions and the growth of national consciousness, but also her ability to absorb all the best, to enrich herselfat the expense of everything truly progressive in the ideological and technological sense that other traditions, sometimes even very distant ones, create" [9, P. 167].
He created his own music only with his peculiar artistic methods, using a special language, secret writing. The
Section 2. Musical arts
I PREMIER
ISSN 2310-5666
European Journal of Arts 2 (2021)
musicologist M. Aranovsky, after conducting numerous studies concerning the problems of musical semantics and semiotics of Shostakovich's work, writes: "A feature of Shostakovich's artistic language is the fact that the role of the mediated form of expression in it sharply increases, primarily due to the means of designation. In a word, the semiotic layer is very strong in Shostakovich's music, and by this she once again confirms her belonging to the art of the twentieth century" [1, P. 239].
The performance of the Seventh Symphony "Leningrad", and in 1939, the First and Fifth Symphonies by the Symphony Orchestra of the Leningrad State Conservatory in the hall of the Uzbek Opera and Ballet Theater was an extraordinary significant event. Innovative in its stylistic and substantive essence, Shostakovich's work was a kind of beacon for composers of all republics.
A lot of scientific works, articles have been created in Uzbekistan, many musicologists of the republic have written about it for decades. Among them are I. A. Akbarov, T. S. Vyzgo, T. B. Gafurbekova, I. G. Ga-lushenko and many others. They cover in detail Shostakovich's career, examine his works, analyze stylistic features, stages of development of his work.
Dmitri Shostakovich "stated the reality of the trend towards the unification of tonal "and" modal "principles in contemporary composer's work" [3, P. 6]. On the possibility of interaction between cultures based on the western polyphonic and eastern monody systems.
The modern musical culture of Uzbekistan in its current form is quite diverse, composers work in different genres and directions, using the modern composer's writing technique. New music entered the work of composers at the beginning of the 20th century.
Studies about Shostakovich indicate his great role and contribution to the development of Uzbek musical art and science. His presence at various musical and cultural events, gave them a special meaning, contributed to the strengthening of the creative activity of the composers of the republic.
The composer's musical intonation can be recognized immediately. The characteristic techniques of his music gave rise to a flurry of imitations. Being a follower of Beethoven, Tchaikovsky, he left to humanity the indissolubility of the fate of the individual and the era. The era that gave the world the great composer Dmitry Shostakovich. Now he and his work belongs to history.
Even during his lifetime, musicologists wrote about the special role in his compositions of melodic turns, built on
the basis oftones, the letter values ofwhich were the initials ofthe composer DeSCH. According to A. Klimovitsky, the monogram in Shostakovich's texts turns into a symbol of "concealment from prying eyes of the author's "I" and, at the same time, of his invisible presence" [5, P. 249].
Monogram is one of the most widespread phenomena in art. In music, monograms are constructed from sounds corresponding to the letters of the name of the surname or the initials of the composer. The translation of the original verbal source into musical sounds occurs both according to the letter and syllable systems of ratios. In the encyclopedic literature, the concept of a monogram is defined as "a secret, agreed-upon combination of numbers or letters, which gives the right to access somewhere or to something" [2, P. 436]. "The word hidden in music" - this is a metaphorical expression of B. Katz can be applied in relation to the monogram in the art of music [7].
Based on the sources, the very tradition of musical monogram-monograms has been known to us since the time of Bach ("BACH"), one of the most beautiful monograms (the figure in the center), which adorns each volume of the composer's New Complete Works. The name of J. S. Bach, which is the basis of the BACH monogram, has become a sign of the musical culture of the Baroque. Dmitry Shostakovich's initials have long become the trademarks of the composer. Shostakovich used Latin letters in the form of notes, deriving them from the German spelling "D [.] SCH [ostakowitsch]". According to the German system, the letters D, S, C and H stand for the notes "D", "E flat", "C" and "B" [8]. The DeSCH monogram from D. Shostakovich's cipher has turned into a symbol of the composer's music and has become a sign of his personality. In 20th century music, the DeSCH monogram is second only to the famous BACH cryptogram in terms of its frequency of use. Shostakovich's stylistic traditions have a tremendous impact on the work of contemporary Uzbek composers. Each generation brings its own innovative endeavors to existing musical resources. For example, the contemporary young composer of Uzbekistan Farhod Nazarov wrote his musical dedication to Dmitry Dmitrievich - the play DeSCH.
In the play DeSCH (2016) by the young composer Farhod Nazarov in the first and second movements, the influence of Shostakovich is felt, from which the author perceived some methods of developing musical material. Farhod Nazarov introduced a motive into the music, emphasized the huge amplitude of the figurative content of
N. M. KARIMOVA K. K. KARIMOVA MONOGRAM IN MUSICAL ART
European Journal of Arts 2 (2021)
I PREMIER
Section 2. Musical arts
ISSN 2310-5666
Shostakovich's music and his own, enriched it with timbre 2020 dedicated to the 75th anniversary of the Great Vic-colors, which at the St. Petersburg Spring international tory was highly appreciated by the audience and as the par-forum-competition in the city of St. Petersburg in March ticipant ofthe forum-competition was awarded the II place.
Figure 1. [4, P. 11]
Figure 2. [4, P. 11]
By resorting to the monogram, Shostakovich's younger contemporaries emphasize the need to communicate with him with an expression ofinfinite respect. Thus, introducing other people's and their own monograms into works, modern authors enter into a dialogue with predecessor composers, as a result ofwhich a kind of connection of times occurs, forming a universal formula for Music and Art.
Since gaining independence, the piano art of Uzbekistan has achieved unprecedented success, domestic pianists constantly participate in various international competitions, festivals, which contributes to the undoubted growth and development of the professionalism of students and their teachers.
Turning to the prospects of international competitions, I would like to emphasize that it is this factor that serves as a powerful impetus not only for the professional growth of the piano school of Uzbekistan, but also an effective factor in establishing cooperation between national music schools of different countries. The approval of the Uzbek piano school, its outstanding representatives, and especially the youth, in the world community is of great importance.
Output. The contribution of the composer Shostakovich to the renewal ofthe musical language is significant. Music saturated with all elements of expressiveness evokes decisiveness, pride, readiness for heroism, defense of the Motherland in a person. Being a follower of Beethoven, Tchaikovsky, he left to humanity the indissolubility of the fate of the individual and the era. In 20th century music, the DeSCH monogram is second only to the famous BACH cryptogram in terms of its frequency of use. Functioning in the wide socio-cultural and musical space of the 20th century, the DeSCH monogram "transformed" from a musical cipher into a sign of Shostakovich's personality, became a symbol of his music.
So, the above allows us to state that the multifaceted and deepest significance of D. Shostakovich's brilliant work for modern domestic and world culture, of course, is fully preserved, this also applies to the musical culture of Uzbekistan. The organic combination ofShostakovich's traditions with the traditions of Uzbek musical culture has been proven. The appeal of composers of national schools to Shostakovich brought great benefits and did not in any way level the national basis of their work.
References
1. Aranovsky M., Shostakovich's Musical Anti-Utopias. Russian Music and the XX century / Ed.- comp. M. Aranovsky.- M., 1997.
2. The Big Explanatory Dictionary of the Russian Language, Ed. S. L. Kuznetsova, SPb., 1998.
3. Drozhzhina M. N., Young national composer schools of the East as a phenomenon of musical art of the XX century.- Novosibirsk, 2005.- 6 p.
Section 2. Musical arts - PRE_M|ER European Journal of Arts 2 (2021) - ISSN 2310-5666 -
4. Karimova N., Nazarov F. Textbook for piano.- Tashkent: 2020.- 11 p.
5. Klimovitsky A. Once again about the theme-monogram DESCH, Shostakovich D. D., Collection of articles for the 90th anniversary of the birth. Comp. Kovnatskaya L. G.,- St. Petersburg: Composer, 1996.- 249 p.
6. Karimova N. M., Karimova K. V., Dmitry Shostakovish and Uzbek music culture. Science and world - № 8(84). 2020.- Vol. II.- 69 p.
7. Katz B. The word hidden in music // Music Academy - № 4-5, for 1995.
8. Safronov A. Musical barometer of the XX century: everything you wanted to know about Shostakovich's life.-M.: 2016 - [Electronic resource]. URL: https://www.m24.ru.
9. Shostakovich D. National traditions and patterns of their development. VIII International Music Congress. Musical cultures of peoples: traditions and modernity.- Moscow: Soviet composer, 1973.- 167 p.
Information about the authors
Karimova Naila Minnigayanovna, Senior Lecturer of the Department of Music Education, Termez State University, Termez, Uzbekistan
Adress: Termez city, "Barkamol avlod" at street, 43; Tel. 76 223 1311 E-mail: normurodov.oibek@mail.ru
Karimova Kamilla Vyacheslavovna, teacher of the Department of Music Education, Termez State University, Termez, Uzbekistan
Adress: Termez city, "Barkamol avlod" at street, 43; Tel. 76 223 1311 E-mail: termizdu@umail.uz ORCID: 0000-0003-0001-5686
N. M. KARIMOVA K. K. KARIMOVA MONOGRAM IN MUSICAL ART
