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10ORIGIN PROCESSES OF NATIONAL PERFORMING ARTS, XII MAKOMS
Ma'rufjon Abdumutalibovich Ashurov Andijan State University
Abstract: The most important issues in the theory and practice of music are expressed in the written sources of the 18th century. In theoretical matters, medieval music scholars mostly relied on the definition given in the works of Farabi and Ibn Sina. This article describes the theory of traditional performance art and its methodological foundations.
Keywords: national music art, music treatises, great scholars, master composers, hafiz, musician, hard work, contemporary music, Twelve maqam, live samples, maqam system, music theory, Asian peoples music
Introduction
The art of national status, which is an integral part of the cultural heritage of our people, occupies an important place in our spiritual life with its ancient history, deep philosophical roots, unique style and creative traditions.
When talking about the origin of national music art, the processes of their formation, musical structure, the opinions of encyclopedic oriental scientists about the science of music, in particular, the theoretical structure of statuses, are studied and analyzed. The basis of Uzbek national classical music is the art of Maqom.
The main part
This unique art, which has been polished for centuries by the hard work and dedication of great scientists, skilled composers, hafiz and musicians, and creative thinking, has gained great fame not only in our country and eastern countries, but also on a global scale.
The term maqam is an Arabic word that means "place of residence", "dwelling place". In musical terms, maqam is the place where the sounds that make up the melody on musical instruments are located, i.e. the curtain.
There is still no information about when and what form the first status systems took. In this regard, the creative legacy of the famous musician Borbad (died 627), who served in the court of Shah Khusrav Parvez (590-568) during the reign of the Sassanids, especially the "7 Khusravoni" system, attracts attention. Musicologists believe that it is this system that most likely caused the formation of statuses later. Borbad's real name is Falahbad and he was born in Marv, Iran. For this reason, it is mentioned in sources under the name of Borbad Marvazi. Abulqasim Firdavsi's "Shahnoma", "Khusrav and Shirin" by Nizami Ganjavi, "Shirin and Khusrav" by Amir Khusrav Dehlavi, as well as in a number of artistic works of the later periods, it
is expressed that Borbad is a hot-breathed hafiz, a skilled musician, and a beautiful composer. Borbad was expected to be the first professional representative of the classical music art in the Middle East, and he went down in history as the founder of this field.
Many legends and stories about Borbad's life and work are given in the treatises of historians and musicologists. After becoming a mature musician, Borbad tries to join the court musicians and show his talent to King Khusrav. Sarkash, the leader of the palace musicians, finds out about Borbad's unique talent and is a very skilled performer, and with malicious intent tries to prevent Borbad from entering the palace. One day, Borbad Marvazi entered the garden while King Khusrav was walking in the garden by asking the gardener of the palace, climbed a tree and started playing a pleasant tune through his Shashtar sozi. Khusrav Parvez, while walking in the garden, hears a wonderful melody coming from somewhere, and orders the singer to be found and brought to him. The king, who had never heard such a pleasant song from the court musicians, appointed Khusrav Borbad as the head of the court musicians.
According to another legend, Khusrau became Shah's favorite vulture, nicknamed Shabdiz. This horse suddenly dies, and no one dares to bring this news to the king. Then the courtiers turn to the king's close friend Borbad and ask him to tell the king that Shabdiz is dead. Borbad Khusrav enters Parvez's presence and says that he has composed a new tune and wants to present it to the ruler. With the king's permission, Borbad begins a song reminiscent of the vulture march. The piece is very nice and Borbad is playing it with aplomb. The melody gradually develops and accelerates. It was a sound like a galloping horse. At the peak of the melody, Borbad suddenly stops and remains silent. Khusrav Parvez understands everything and asks: "Is Shabdiz dead?" - he says, thus Borbad expertly conveys the sad news to the king. There are many legends about Borbad's high skill and talent, and through them we can form an idea about the work of the first systematic music composer who lived in the past.
It should be said that the following five factors are necessary for the formation of systematic music, especially status systems. They are:
1. Developed urban culture
2. Development of exact sciences
3. Philosophical thinking absorbed into artistic creation
4. Music science
5. Professional music layer
All these factors were concentrated in the eastern Muslim world by the 9th-10th centuries. It was during this period that the exact sciences developed, as well as the great merits of Abu Nasr Farabi, the science of oriental music theory was founded, the practice of professional music rose to a new level, and religious and philosophical
views began to spread. Under the influence of these factors, the system of twelve statuses was created in the big cities of the East.
It is difficult to give a clear opinion about the historical development of the twelve statuses and the process of its formation. Because in those times there was no musical notation in the current system, it does not allow us to imagine live samples of our past music. We can give only theoretical information about the twelve status system.
The twelve status system (Duvozdahmaqam) refers to 12 statuses, certain types of sound series formed on the basis of certain parts of them - 24 branches, 6 voices, and modal forms called complex.
It is known that in the field of Eastern music theory, Safiuddin Urmawi did great work on the systematization of statuses. This system was further refined by musicologists of the 15th century. Status, branches and votes were defined in a certain way, based on a unified system. Although they are all considered to be aggregates, their range is different, and at the same time, they are separated from the composition of these aggregates, which are expressions of phonemes. Each of the 12 maqams is a well-known chord association that is distinguished from the jams. It is known from the sources that aggregates are formed by adding genders.
In the 15th century treatises on music theory, genders are divided into two groups. The first group includes four-step chords (tetrachords) in the range of fourths, and the second group includes five-step chords (pentachords) in the range of fifths. Sometimes rocks are five-chord in the first group, and six-chord in the second group (hexachord). Genders and plurals are different from the tempered diatonic scales in the current notation system. As mentioned above, they also contain intervals slightly smaller or larger than a whole or semitone.
The most developed period of the twelve (Duvozdah) maqam in the music of the peoples of Central Asia, Khorasan, and Azerbaijan, roughly corresponds to the XIII-XVII centuries. Written sources related to the theory of music of these peoples serve as proof of our opinion.
It is difficult to give a clear opinion about the historical development of the twelve statuses and the process of its formation. Because in those times there was no notation in the modern sense, it does not allow us to imagine live samples of our past music.
Although the creation of maqams goes back to very ancient times, we can only interpret them based on the comments given in the treatises of music in the form of twelve maqams.
Statuses have existed in various forms and quantities. The fact that their twelve status form is more clearly covered, especially in music treatises of the 13th- 15th
centuries, indicates that during this period they became popular, spread widely among the masses, and played an important role in musical practice.
It is possible to think that the twelve maqam lived in the music of the peoples of Central Asia and Khorasan almost until the time when Shashmaqam was formed. That is why the issue of the Twelve Status occupies a central place in the theoretical treatises on music created in the 15th-18th centuries.
The concept of maqam, according to the definition of recent times, remains "the basis of the rhythm of performed tunes and songs." In music treatises, the term "maqam" is also referred to by the phrase "curtain", which means the tone in modern music theory.
So, the Twelve maqams or pardas represent twelve different modes and their corresponding musical works. The starting veil of statuses is also called by the name of the statuses to which they belong, as mentioned above. It should also be noted that in live music works of the Twelve Scales and other types of scales, cases of going beyond the limits of the basic tuning devices often occur.
In music treatises, the authors initially listed 12 status names. They are the status of Ushshaq, Navo, Buslik (Abu Salik), Rost, Hosseini, Hijaz, (Rahovi), Zangula, Iraq, Isfahan, Zirafkand (or Kuchak) and Buzurg (Buzruk) [21; 91].
1. The status of Ushshaq. The phrase "ushshaq" is the plural of the Arabic word "ashiq", which means "lovers". Initially, this status expressed lyrical moods. The name "Ushshaq" was probably given to it because the status of Ushshaq is a work performed with lyrical (romantic) poems and spoken in the language of lovers. It is considered the first circle among the above-mentioned ensembles, that's why Eastern music scholars called Ushshaq the oldest, that is, the first status.
2. Status of Navo. The word "navo" comes from the meanings of melody, melody, and melodious melody, which means "smoking navo". (Navoi also took his nickname from this word and used it in the meaning of a nightingale that smokes navo in love with a flower (mahbub).) Navo is also one of the ancient status. He was also called "Nagmai Davoudi". In this regard, the sources of the XVI-XVIII centuries give narrations and legends.
Maqomi Navo is the fifteenth (and fourteenth in Husayni's "Law") of the ninety-one types of aggregates, that is, the II of the genders of the first group and the II of the genders that form the second group It is formed by adding the variety.
3. Status of Buslik. According to the treatises on music, the word Buslik is derived from the name Abu Salik. The status of Buslik's sound corresponds to the natural tone called Phrygian, and its expression in the note is as follows:
Example:
It should also be mentioned that in the music of the Uzbek-Tajik peoples, there are a lot of tunes and chants that match the sound lines of Ushshaq, Navo and Buslik maqam without any changes. In the music of these peoples, there are especially many cases where the interval between the fourth and fifth steps in the scale of the scale of the buslik is a whole step instead of a half step.
4. The status is True. The word true is used in the Uzbek and Tajik peoples in the sense of true, that is, appropriate. According to the music pamphlets of the 16th and 17th centuries, most tunes and songs begin with the first note of this key, and many of them are named Rost because they correspond to this key. For this reason, Rost's position was called "ummul-advor", that is, the mother of all circles.
5. Maqomi Hosseini. The word Hosseini is the name of a certain person (composer). Husayni's chords and steps are extracted from the following chords of oud, and their intervals and cents are as follows:
Example:
So, the tunes and songs corresponding to such chords are related to Husayni. 6. Maqomi Hijazi. Hijaz is the name of a state in Arabia that refers to Mecca and Medina and the surrounding lowlands. But this status should not be considered as belonging to Arabic music. Its other name used in Central Asia, Khurasan and Azerbaijan is known as Segoh.
The pitches, intervals and cents of the Hijaz chords are as follows: Example:
So, the status of tunes and songs corresponding to such chords belongs to Hijazi.
7. Maqomi Rahavi (Rahuvi). According to the treatise of Kavkabi (16th century), it was the first name of the Roman cities. Other sources on music indicate that Rahavi is the name of one of the twelve maqams and is known in Hinduism as lalt (or lilt). According to some opinions, it also means "rah" or "roh" - road. Because there are many versions of maqams that have come down to us, and in folk music works, there are many tunes and songs depicting the march of horsemen known as "Suvori". "Suvori" means horsemen's march, while Rahavi means the road. It is possible that the form of the word "Rahavi" that has reached our days is "Suvori".
8. Maqomi Zangula. The word "Zangula" ("bell", "bell") also means a bell (zang) that is hung around the neck of a camel or tied to a drum. In addition, the small bells that are worn on the hands and feet while dancing are also called by this phrase. The status called Zangula probably consists of more dances and songs.
Zangula's chords, steps and intervals are extracted from the following chords of oud and their cents are as follows:
So, this soundbar is the basis of Zangula's tuning.
9. Status of Iraq. The phrase "Iraq" is the name of a well-known country and the name of a specific status in the Twelve Statuses and Shashmaqam given to it. Its sound range is extracted from oud strings and curtains, and the cents are as follows:
There is another version of the Iraqi status, whose steps, intervals and cents in the lad sound line correspond to the following tones of the oud sound:
In this version of the Iraqi status, the last interval is converted into two intervals of 180 and 24 cents. Such cases are found in medieval Eastern music theory, and the phrase zoid (acquired) is added to the name of statuses. The status of Iraq will be discussed again in the Shashmaqom section.
10. Maqomi Isfahan. Isfahan is one of the famous cities of Iran. This name is attributed to this city. The status of Isfahan's ladi, and the steps and intervals that make it up are formed from the following veils of the oud sound.
Therefore, a set of melodies and songs corresponding to such a lad sound range belongs to the status of Isfahan.
11. Status of Zirafkand or Kuchak. Zirafkand comes from the meanings of jumping down, falling and bed, bed time. The reason for this is that in the past this status was used for different purposes. Some musical treatises written in the 18th and 19th centuries show that each status reflected the mood of a person at certain times of the day (see below). Zirafkand probably got this name because it reflects the mood at the time of lying down. Zirafkand also has the meaning "Uzzol" (see Shashmaqam section). His second name is Kuchak (small) status.
Its scale steps and the intervals and cents between them are as follows on the oud instrument:
The basis of the tunes and songs, which have the status of Zirafkand, consists of such a sound line.
12. Maqomi Buzurg (Buzruk). Buzurg means big, great, great status. Even in its Shashmaqam form, it contained many melodies and chants.
Maqomi Buzruk's scale, steps and intervals between them are as follows:
So, the tunes and chants corresponding to such a lad sound range are characteristic of Buzurg status.
This is how the twelve statuses are described in music treatises of the 13th-15th centuries. It should also be said that the vowels of each maqam can be formed from other parts of the oud. Therefore, Zaynulobidin Husaynii shows the variants of the oud in other veils, in addition to the above-mentioned veils of maqam, from which their sound lines can be extracted. Therefore, he also mentioned the changes that occur when the statuses start from another tonic. Because according to the concept of maqams, a certain note (i.e. sol or do note here) cannot perform the function of tonic for all of them. Even in Shashmaqom, each maqam represents the concept of a sound line starting with a certain tonic (here, the maqam sound lines that are formed when extracted from other parts of the oud are not given).
The system of twelve maqam includes six different lad associations, known as Voice, created on their basis, and their twenty-four branches, which are branches of maqam.
About the voices. There are six of them, named Navroz, Salmak, Gardoniyya, Havasht, Moya and Shahnoz [22; 100].
About branches of the authorities. A branch is understood as a branch of status. In the matter of branches, it is necessary to refer to music treatises of the XV-XVII centuries. Because the issue of branches covered in these treatises is also related to the musical works that have reached our days and can help to understand the function of branches in Shashmaqom.
Branches are twenty-four in the pamphlets of the XV-XVII centuries. They are Dugoh, Segoh, Chorgoh, Panjgoh, Ashiran, Navro'zi Arab, Mohur, Navro'zi Khoro, Navro'zi Bayoti, Hisar, Nuhuft, Uzzol, Avj, Nayriz, Mubarqa', Rakb, Sabo, Humayun, Zavuli, Isfahanak or known as Royi Iraq, Bastaii Nigor, Nihovand, Javzi, Mukhayar.
Maqam not only means a specific pitch, a specific musical sound, but also a specific system of musical sounds. In the language of music, the relationship system of certain sounds is called "lad". Lads are called "jam" in oriental music. Since some of the statuses in the system of twelve statuses are similar to each other from the point of view of totality, some statuses of the two names are combined under one name. This event probably happened in the first half of the 18th century. As a result, six maqams, or "Shashmaqam", were formed out of twelve maqams connected to each other.
Shashmaqom was created on the basis of the musical wealth of the Uzbek-Tajik peoples and had a strong influence on the development of folk music in recent times, and took root among the masses. Under the influence of status, works of large and small forms were created.
If you take a close look at the riches of Uzbek-Tajik folk music, there are only a few pieces of music that are devoid of status in terms of the means of expression in the melody, the tone and rhythmic basis, and the basis of the melody in general. Magoms lived, developed and grew rich in cooperation with folk music. Each melody or song corresponds to a certain scale of the sound of the maqam (parda).
This situation probably made it possible to initially combine the wealth of folk music into statuses and create a series of works.
Determining the relationship between shashmaqom and folk music is a very complicated problem. It is difficult to say when similar elements present in folk tunes and statuses were created. Historical written sources do not have any information about whether they were taken from folk tunes and used in statuses or vice versa. That's why we will stop at least in a general way on the issue of status relationship with folk tunes and works created by composers in the last years.
First of all, it should be said that the elements of maqam instrumental parts are also found in folk tunes. Many folk tunes, especially large-scale instrumental tracks, are composed in the order of statuses.
Popular folk songs in the style of maqams include Choli Iraq, Nasrullayi, Ilgor, Miskin, Ufari Iraq, Mushkiloti Dugoh, his Mongolian and Ufari, Rosti Panjgoh Kashkarcha, Bek Sultan, Eshvoy, Kurd, Desert Kurd, Norim- Norim and other instrumental tracks are among them. These instrumental tracks are made up of pieces of melody - rooms and bozgoi - that are part of the statuses. This is evidence of the fact that pieces of the melody are found in folk tunes that are not included in status, and that they are mixed with folk music.
The fact that composers-composers have been creating melodies and songs on the themes of maqam for centuries, and the fact that they are still creating beautiful and wonderful works under their influence, shows that maqam is deeply embedded in folk music.
We will list some folk tunes and songs created on the basis of maqam, some of them are samples used at the peak or which branch they belong to (in parentheses):
1. Works on the status of corruption:
Abdurahmonbegi I (Namudi Navo), II, Dilkharosh (Zebo pari), Kochabogi (Namudi Ushshaq), Ilgor (Tashkent version - Namudi Uzzol), Nasurlloyi I (Namudi Segoh), V, Duchava (Mukhaiyari Chorgoh) ), Yalang Davron, Suvora (Tashkent-Fergana option), Mushkiloti Buzruk and others.
2. Works on the status of Rost:
Types of Ushshaq, Shahnozi Gulyor (Zebo pari), Shafoat (variant of Savti Ushshaq), Koshchinar (Namudi Ushshaq), Guluzorim (Avji Turk), Chaman yalla and Dawn Atguncha (based on Savti Ushshaq, Namudi Mukhayyari Chorgoh) Qalandar III ( Savti Kalon), Nayriz, John Andijonim (T. Jalilov's, Ufari Savti Kalon) and others.
3. Works on the status of Navo:
Bayot I-V and its other variants (Bayot and Navo samples), Bebokcha, Bukhara Wave (Namudi Navo), Kurban Olayin (Namudi Navo), Bahar (Namudi Segoh and Zebo Pari), Bandalar kereding (Zavqi Ghazali) , the works of Mening va ey kungul (T. Jalilov) (based on Bayot) and others.
4. Works on the status of Dugoh:
Munojot II (Zebo pari), Savti Munojot and Ufari Dugohi Husayniy (Namudi Oraz) and other types of Dugoh, Rez kuy, Ferganacha (Savti Chorgoh), Terma yor-yor (Sarakhbori Dugoh), Bozurgoni (Zebo pari) and others.
5. Works on the status of Segoh:
Ajam (Namudi Uzzol, Turk), Navrozi Ajam (Turk), various variants of Segoh, Girya I-II, Sayqal I-II (Namudi Segoh), Giryoni Kazakh (Namudi Segoh), Miskin I-II and Adoyi I-III (Namudi Segoh), Suvora and Sawti Suvora (variant of Khorezm, based on Sabo) Mushkiloti Segoh and Ufari (Namudi Segoh) and others.
6. Works on the status of Iraq:
Desert Iraq (Mukhayyari Chorgoh), Desert Kurd (Ushshaq, Uzzol samples and Zebo pari), Eshvoy and Feruz (Mukhayyari Chorgoh), other variants of Iraq, Norim-Norim and Ilg'or (Khorazm variant, Mukhayyari Chorgoh), Trumpet Iroghi (Zebo fairy) and others.
In addition to these, there are a lot of songs and tunes suitable for status paths. Not only the cadence of them, but also the movement of the melody are compatible with each other.
In short, in the past, various versions of a certain song were created in this style. Sometimes they have undergone great changes. These variants, as mentioned above, are the product of the tradition of composition that has been continuing in our musical culture for centuries, occupying a proud place in our musical heritage.
The history of the music culture of the peoples of Central Asia has not yet been sufficiently studied. No comprehensive works have been created that would consistently explain this issue, including the development path of statuses. Historical materials about music culture in general are scattered in sources written in different languages and in works of a different nature. It is very difficult to collect these materials and create a history of the music culture of the peoples of Central Asia.
Therefore, for the time being, we will be content with briefly mentioning the available information from music sources in the X-XIX centuries.
Abu Nasr Farabi founded the theory of Eastern music in his treatises devoted to music. His musical works are "Kitabul musiqi al-kabir" ("The Big Book of Music"), "Kalam fil-musiqa" ("Words about Music"), "Kitabul muziqa" ("The Book of Music"), "Kitabun fi- The part of ihsa'il-ulum" ("Book on classification of sciences") devoted to music, "Kitabun fi - ihsa'il-iqo' ("Book on rhythms of music - iqo' classification") and others.
Shashmaqom was created on the basis of the musical wealth of the Uzbek-Tajik peoples and had a strong influence on the development of folk music in recent times, and took root among the masses. Under the influence of status, works of large and small forms were created.
If you take a close look at the riches of Uzbek-Tajik folk music, there are only a few pieces of music that are devoid of status in terms of the means of expression in the melody, the tone and rhythmic basis, and the basis of the melody in general. Magoms lived, developed and grew rich in cooperation with folk music. Each melody or song corresponds to a certain scale of the sound of the maqam (parda).
The fact that composers-composers have been creating melodies and songs on the themes of maqam for centuries, and the fact that they are still creating beautiful and wonderful works under their influence, shows that maqam is deeply embedded in folk music.
Summary
In conclusion, it can be said that the poetry of maqam, nourished by examples of ghazals and folk oral works, as well as the melodic ways, methods and forms of classical music, which formed a unique circle, have been passed down from generation to generation. This is the primary task of those in the field to analyze the structural structure, melodic characteristics of classical music samples. Through this research work, the number of people interested in Maqom art will expand, and a full impression of national melodies will be formed in the minds of young people, and literate listeners will develop, far from the melodies that lead to meaningless and destructive ideas, cultured, spiritual and We hope that the ranks of mentally healthy and well-educated young people will expand and we will build a new Uzbekistan together with such young people.
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19. Marufjon Ashurov Abdumutalibovich. (2022). EXPLORING THE WORK OF GEORGE BIZET IN MUSIC EDUCATION CLASSES IN HIGHER EDUCATION. Academicia Globe: Inderscience Research, 3(03), 80-86. https://doi.org/10.17605/OSF.IO/S798E
20. Marufjon Ashurov Abdumutalibovich. (2022). THE ROLE OF AMIR TEMUR IN THE DEVELOPMENT OF SCIENCE AND CULTURE IN CENTRAL ASIA. Pioneer : Journal of Advanced Research and Scientific Progress, 1(4), 156169. Retrieved from https://innosci.org/jarsp/article/view/359
21. Marufjon Ashurov Abdumutalibovich. (2022). THE ROLE OF THE SYSTEM OF AUTHORITIES AND THE HISTORICAL FORMATION OF SHASHMAQOM IN THE TEACHING OF MUSIC TO STUDENTS OF HIGHER EDUCATION. Academicia Globe: Inderscience Research, 3(02), 121-127. https://doi.org/10.17605/OSF.IO/6J9BS
22. Marufjon Ashurov Abdumutalibovich. (2022). TO GIVE HIGHER EDUCATION STUDENTS AN UNDERSTANDING OF THE DESCRIPTION OF THE SONGS IN THE SHASHMAQOM SERIES. JournalNX - A Multidisciplinary Peer Reviewed Journal, 8(2), 187-193. https://doi.org/10.17605/OSF.IO/T4Q3K
23. Marufjon Ashurov Abdumutalibovich. (2022). To Teach Higher Education Music Students the Life and Work of Composer Boris Gienko. Procedia of Social Values and Community Ethics, 14-17. Retrieved from http: //procedia.online/index.php/value/article/view/11
24. Marufjon Ashurov Abdumutalibovich. (2022). To teach students of higher education music life and work of composer Mustafa Bafoev. Procedia of Theoretical and Applied Sciences, 1-5. Retrieved from http://procedia.online/index.php/applied/article/view/12
