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поддерживая многогранное творчество своих коллег. Не впадая в эйфорию самодовольства, он наставлял молодых музыкантов искать движения вперед, не удовлетворяться уже найденным. Принимая, как ректор консерватории, композиторов, пианистов, инструменталистов, певцов, дирижеров и хормейстеров, — он находил время встретиться и побеседовать с каждым из вновь принятых абитуриентов, понять личностную суть и творческие устремления молодых и направить их по плодотворному пути, — рассказывает Андрей Слоним. — И еще одно свойство натуры Мастера-педагога. Мухтар Ашрафович любил и ценил талант и его проявления. С заботой выделял он ярких молодых исполнителей. И не просто приглашал в театр, которым руководил, но и тщательно следил за их развитием, предлагая партии и роли в согласии именно с их индивидуальными свойствами души и дарования. При этом проявлялось еще одно педагогическое свойство Ашрафи — он
никогда не был «улыбчиво-добреньким» в своем общении с молодежью и коллегами, а соблюдал удивительное сочетание мудрой доброжелательности и строгости, а в случае творческой или человеческой непорядочностью — мог быть жестким и непримиримым. Один такой случай исчерпывающе показал принципиальность Мастера. Когда в начале 50-х ему подали список по увольнению «неугодных» педагогов, он добавил к нему свою фамилию и сказал: «Вот в этом составе — увольняйте». Заметим, что это произошло еще при жизни и при полном влиянии «вождя народов» Сталина — и столь дерзкий поступок мог стоить не только карьеры, но и жизни. Однако и здесь честность Мастера восторжествовала вопреки непредсказуемому и трагичному.
Человеческая порядочность, чуткость, преданность и глубокое уважение к своему делу и своим ученикам, Родине — это, пожалуй, главные уроки великого Усто Мухтара Ашрафи.
Список литературы:
1. Ашрафи М. Музыка в моей жизни. - Т., - 1975.
2. Азимов К. Узбекистан дирижёрлари. - Т., - 2001.
3. Muxtor Ashrafi va XXI asr. - T., - 2012.
DOI: http://dx.doi.org/10.20534/EJA-17-1-13-17
Kodirova Khusnida Rahmonovna, musicologist, city Kokand, Fergana, Republic of Uzbekistan E-mail: [email protected]
New perspective on the musical theory explored in ground breaking work of Al-Khorezmiy "The Key of Knowledge"
Abstract: In this masterpiece, Al-Khorezmiy pays special attention to the establishment of musical theory, specifically to the concepts of tonality, intervals and note lines. Initially he explores the concepts behind the terminology, their places in music, their meanings and fuctions. While trying to understand and the works of Al-Khorezmiy, contemporary authors rely on the works of Zakariya Yusuf who researched the works of Avecenna. By comparising the works of two contemporary leaders in science researches can made binding conclusion as not unlike his contemporary Avicenna, Al-Khorezmiy draws conclusion on the theory of music based on the practices of musical instrumend - Ud.
Keywords: musical instruments, tool ud, tone, tobacco (tonality), intervals (octave, fifth, quart, second), genders (sound row), rhythm, rhythmic formation, translates.
"Mafotixu-l-ulum" (Key ofknowledges) is the only and the largest work of Abu Abdulloh Al-Khorezmiy that endures with us to this day. This work encompasses all the subjects that were contemporary of those times. Learning the science of music and its theoretical base from the scientific heritage ofAbu Abdulloh Al-Khorezmiy entails learning and analyzing the musical instruments in "Mafotixu-l-ulum", exploring the compositions musical theory, analysing them, study them to determine their rhythmic composition, comparing them with the compositions by contemporary leading specialists and showing alternative and differentiated aspects of the work at hand.
"Science of music of middle ages is a multifaceted provenance where theory and aesthetic matters have a special place as a topic of discussion.Theory and aesthetic matters are not studied separately but contarily, they are presented as different aspects of unified science of music.If the theoretical aspects of the study look at components of music and the norms regulating its innner structure, aesthetics ponders onthe concepts necessary to explore the ideological platforms of music" — opines on the music of the Middle Ages musical scientist O. Matyoqubov. [5; 8] Al-Khorezmiy titled the second part of book deveoted to music "On the compositions ofmusic enlisted in the books by the greats of the science". This part of the book demonstrates how Al-Khorezmiy refers to the theory ofmusic. In effect, he explores components of music theory for the first time. In particular, he focuses on the elements of musical theory such as sound, interval that results from the interrelation of sounds, compositions, tetra-chords, pentachords, commas which are the shortest types of intervals and three types ofentities. Undoubtedly, all scientists explain the concept of sound first when creating basis for theory of music.
It is known that, Al-Farobiy explores this topic from various aspects and as well, using mathematics based methodology. If, he starts with the characteristics of sound and the process of sound creation, the second part of Al-Khorezmiy's work is closer to the concept of introduction to music. In other words, he opens this particular part of his work with the
concept of musical sound. "Naghma is absloute bam and is constant just like played strings or one of the strings, the sound of bam played with fingers is also constant. Similar to words that are filled with letters, melodies consists of naghmas," wrote Al-Khorezmiy.
The second level of the theory of music is thefirst step in the relationship of sounds. That is intervals. Al-Khorazmiy ventured into the world ofBo'd (interval) having covered Naghma. He explained Bo'd (interval) as the pause made in the distance that starts from one sound and goes to another. In a nutshell, according to contemporary theory, the space between two sounds is considered interval. Bo'd — the terminology used to describe the space between two sounds in IX-X centuries — is interval. Al-Khorezmiy words it as "the distance to the second sound". It follows that the distance between two sounds or the space between two sounds is interval.
The next step in the componenents os music is the harmony of sounds. Jamm described in the same work is a collection of sounds whereby music is created. The word Jamm translates as the one that brings together, the one that collects, or the one that gathers. Contemporary theory of music sees this process as a measure that creates musical action or lad (harmony). The vitality of lad in music is the guarantee for purity of music and sound and personality of the music. Al-Khorezmiy presents jamm (lad) in a unique way whereby he uses the concept of Tobaqat to explain jamm (lad) focusing on gamut of the music. "Tobaqat is the levels of naghma (or tonality)", if two uds (stringed instrument), including harps, are played at the same time, they will have the same tobaqat or tonality." Meaning, tobaqat is tonality. It determines the limits of the sounds. If these limits are the tonicity of a particular tonality, the rest of the sounds follow this and should not exceed this tobaqat or tonality even if they are played in two different instruments [5].
We studied the composition of samples of jamm created by Al-Khorezmiy using the methodology of musical orientologist of arab descent Zakariya Yu-suf in order to research the theory of music created in
the Middle Ages. In the scientific works of Zakariy Yusuf, who explained the foundations of the musical theories of Avicenna, we can find nomenclature of ud's strings and contemporary misso's of notes.
There are two termins used to describe the octave interval. The first is al-bo'dul zul-kul and the second is allazi bil-kul. This nomenclature draws attention by its multifacetedness. To be more specific, a) al-bo'dul
Table 1. - Octaves of ud set up by
zul-kul means line of notes in a range of one particular octave, while b) allazi bil-kul is the octave interval. Octave interval is defined through the music created using ud. He writes that distance from absolute bam to masna sababa and the distance from bam sababa to masna binsir makes up one octave.According to him if absolute bam is the note sol or note E, then masa sa-boba is the same note one octave higher (Table 1).
Ibn Sino; Ud'sshayton harrak side
Al-mut.laq-open string (octave) Sol Do Fa Si t Mi ^
Mujannabu vust.a-l-furs - middle fingeron neigbour octave to persian octave. Contemporaries of Ibn Sino used theoretically. Lya ^ Re ^ Sol ^ Komma Si Komma Mi Si
Ra'su-d-dasatin main octave (approximately harmony). sol* do# fa# si si#
Mujannabu vust.a zalzal-middle fingeron Zalzal ocatve's is neighbour octave do [> re sol si# mi#
As-sabbaba — indicating finger octave Lya Re Sol do fa
Vust a-l-fursi-l-qadima - old middle finger octave si t \ mi lya * V re sol ^
Vust-a Zalzal - middle finger Zalzal octave si 1- mi ^ lya V re ^ sol V
Al-bins-ir - nameless finger octave si Mi Lya re sol
Al-xinsir - little finger octave do Fa si t si ^ lya ^
Name of the string Al-bam octave Al-maslas octave Al-masna octave Az-zir octave Al-had high (5) octave
Masna sabbobasi
Ud's harrak side
Absolute bamm
If we consider the fact that Al-Khorezmiy lived and composed his works at the same time as Avi-cenna, his description of octave is explained through the fact it is the same as contemporary octave interval or the fact that distance between the note E (sol) and the note E one octave above makes up the octave interval.
He writes about two diatonic types of tetra-chords — major and minor. He describes the first tetrachord as follows, — absolute, sabboba, vusta, and khinsir sounds notes are as follows — absolute is sol, sobbaba is lya, vustais si bemol and khinsiris do. This makes up minor tetrachord (Big2+small2+big2) (Table 2).
Table 2. - Ud's shayton harrak side
Al-mut.laq-open string (octave) Sol Do Fa Si Mi ^
1 2 3 4 5 6
Mujannabu vust.a-l-furs - middle fingerpersian octave neigbour octave. Ibn Sino's period uses ascept of considiration. Lya ^ Re ^ Sol ^ Komma Si Komma Mi Si
1 2 3 4 5 6
Ra'su-d-dasatin head octave (approximately harmony). sol* do# fa# si si#
Mujannabu vust.a zalzal-middle fingerZalzal octave is neighbour octave do ^ re ^ sol ^ si# mi#
As-sabbaba — indicating finger octave Lya Re Sol do fa
Vust a-l-fursi-l-qadima — old middle finger octave si ^ mi ^ lya ^ re ^ sol
Vust-a Zalzal- middle finger Zalzal octave si ^ mi v lya ^ re ^ sol ^
Al-bins-ir- nameless finger octave Si MI Lya re sol
Al-xinsir- little finger octave do Fa si ^ si ^ lya ^
Name of the string Al-bam octave Al-maslas octave Al-masna octave Az-zir octave Al-had high (5) octave
Ud's harrak side
As-sabbaba Al-Khinsir
♦ t
Absolute bam Al-Vustal
The second tetrachord is absolute, sobbaba, binsir, and khinsir sounds. In note denomination they would match as follows — absolute is
sol, sobbaba is lya, binsir is si, khinsir is do. The
second tetrachord makes up the major tetrachord (big2+big2+small2) (Table 3).
Table 3. - Ud's shayton harrak side
Al-mut.laq-open string (octave) Sol Do Fa Si l> Mi >
Mujannabu vust.a-l-furs- middle fingerpersian octave neigbour octave. Ibn Sino's period uses ascept of considiration. Lya ^ Re ^ Sol ^ Komma Si Komma Mi Si
Ra'su-d-dasatin head octave (approximately harmony). sol* do# fa# si si#
Mujannabu vust.a zalzal-middle fingerZalzal octave is neighbour octave do ^ re ^ sol si# mi#
As-sabbaba — indicating finger octave Lya Re Sol do fa
Vust a-l-fursi-l-qadima — old middle finger octave si t mi ^ lya ^ 1, re sol ^
Vust-a Zalzal- middle finger Zalzal octave si 1- mi ^ lya ^ [, re sol ^
Al-bins-ir- nameless finger octave si MI Lya re sol
Al-xinsir- little finger octave do Fa si ^ si ^ lya ^
Name of the string Al-bam octave Al-maslas octave Al-masna octave Az-zir octave Al-had high (5) octave
Ud's harrak side
As-Sabbaba Al-Khinsir
$ Î
Absolute bam Al-Binsir
Metrorhythmically structure songs of the lyrical Karakalpak epos
After that he write about how Al-Khorezmiy described three genders of musical theory. The first of them is called the strong gender [Gender is the composition of first lads]. He describes it as follows: "First gender — jinsqaviiy — is the strong gender (diatonic gender) where the ratio oflarge second tet-rachords is in the range of one moment (1 tone) and a half a moment (0.5 tone), specifically it follows the order of absolute music, then sobbaba, then binsir, then khinsir". First gender corresponds to the major tetrachord which is it is named diatonic gender.
The second gender is named colourful gender and it was described by Al-Khorezmiy as follows: -"The second gender — jinsmulavvan- colourful gender (chromatic gender), it is divided into three parts in tetrachord. Consequently, this gender corresponds to chromatic gender currently. Even in its description, its creation in half tone ratios shows that it belongs to chromatic notelines.
Al-Khorezmiy describes the third gender uniquely and presents it in three representations. Specifically he says: - "The third gender is called composition, prose, and painter (inharmonious). And that tetrachord (quart interval) sustains four tones and two tones in quarter of a period. 1. It tries to encourage oneself, foster good mood and set up the degree
of joy. It is also called brain worker. Also it is called rajulain — male gender. 2. The spirit is in between overjoy and deep sadness and tries to reach generosity, liberty and bravery and it is called courteousness (khunsaviia). 3. Wistfulness creates the conditions that demand attention to the spirit and it is also called nasaviia (female gender)" Unlike first and second genders the third gender itself can be studied in three directions. They are education, prose and painter. The painter currently corresponds to inharmonious gender. Composition is separated into three types according to its effect on spirit.
Al-Khorezmiy left invaluable information regarding famous theoretical systems of his time in the chapter devoted to music of his groundbreaking work "Mafotixu-l-ulum". This helps us to under-tand the theory of music that was widely used in the middle ages. The fact that "Mafotixu-l-ulum" translates as "Key to knowedge" hides a lot of secrets in our humble opinion. Becuase this masterpiece contains the key to understanding the foundations of science in IX-X centuries. Al-Khorezmiy made this effort to show the right way — the way to all knowledge for us in his work. As we study his wrok, it is noteworthy that studying "Mafotixu-l-ulum" is big factor in researching Oriental musical traditions.
References:
1. Liber Mafatih al-Olum. Auctore Abu abdallahMohammed ibn Ahmad ibnJusof al-Khowarezmi/Ed., indicts adjecit G. Van Vloten. - Lugduni - Batavorum, E.J BRILL. - 1968. - 235-246 p.
2. Bakhodirov R. M., Abu Abdulloh -Al-Khorezmiy and the history of science. T.; "O'zbekiston", - 1995.
3. Matyoqubov O., Introduction to musical traditions of folklore. - T.; "O'qituvchi", - 1983.
4. Oripov Z. T.; Resources of oriental music. - T. - 2008.
DOI: http://dx.doi.org/10.20534/EJA-17-1-17-21
Berdikhanova Shakhida Nurlibaevna, Senior Research Fellow-Competitor State Conservatory of Uzbekistan E-mail: [email protected]
Metrorhythmically structure songs of the lyrical Karakalpak epos
Abstract: The aim of the article is to identify the characteristics of the structure of the composition metroritmically vocal lyrical sections Karakalpak epos. We consider some of the specific forms of organization and melostrof defined functional significance in shaping the rhythm of songs. Keywords: Karakalpak epos, lyrical dastan, melostrofa, metroritm.
