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Gafurbekov Tukhtasin Batirovich, doctor of Arts,
Professor of Uzbekistan State Conservatory E-mail: [email protected]
POLYMONIUM IS THE PHENOMENON OF AUTHORS' MONO-CREATIVITY IN THE NEAR AND MIDDLE EAST
Abstract: The article is devoted to the polymonody - the phenomenon of the musical-theoretical interpretation of author's mono-creativity of the Near and Middle East. The interinfluence of the European and Uzbek traditions of musical cultures, was evident in the twentieth century, this was facilitated to renovation of the bastakors art, which filled their compositions with new genres, several polyphonic techniques and timbral properties. Based on this, the bastakor's ccompositions, with keeping the monodic nature, is acquired a multiple musical and stylistic expression and appeared to the special form of musical-creative process, which we called the polymonody.
Keywords: polymonody, monodic art, bastakor, composer, polyphony, professional creation, national melodies.
The onset of XXI century is not only a new century, but also it is another Millennium, that all of humanity met hope. The beginning of the new era, it requires us experts in creative thinking, take a closer look at the further and recent past of musical art and particularly, considering the availability of undiscovered resources, determining the true artistic value of created works simultaneously or different time.
It is not a secret that over the past 150 years, especially during the recent 75-80s, we have four layers of musical creativity: folklore, classical heritage works, creativity of bastakors and works of composers, there were focused on only to the last one.
As a result, many masterpieces of the national melodies embodied the spirit of time and breath of our ancestors, their thoughts and feelings, a wise worldview. Tens and hundreds of author's monodi-cal works were pushed aside and are still considered as allegedly originating without "authors", although they sound for already over 15 centuries (!), are the legacy of specific bastakors, the earliest of which is belonged to the first decade of great Islamic culture.
Unfortunately, despite the fact that we did not succumb ordeals of the centuries, until we reached
a highly artistic vocal and instrumental works of monodical authorship, in the last century, they were forced to give pathway to the polyphonic style, exported from Europe, which were forcibly implemented for several decades. Moreover, from four above-mentioned layers, the first three have become directly dependent on the latter that is the composer's creativity and practically turned into his endless "storehouse" of inspiration.
The most insulting is that, having lived up to the XXI century, musicology is still not even found logical terms and concepts that are scientifically relevant to the professions of the authors of monogenic works. Instead, our scientists - musicologists went the very easy way, and began to apply artificial European terms such as "composer-melodist" (used in Uzbekistan, Tajikistan), "kyuyshi-composer" (in Kazakhstan) and other similar "connections".
Today, firstly, in our opinion it is necessary to revive the local definitions that have been recognized for centuries in the context of the cultures themselves, such as Bastakors (used in Uzbekistan, Tajikistan, Azerbaijan, Turkey, Iran), Mulakhyn (Egypt and other Arab countries), Akyn (Kazakhstan, Kyrgyz-
stan), Bakhshi (Uzbekistan, Turkmenistan, Karakal-pakstan), Ashug (Azerbaijan, Georgia, Armenia, Turkey). Note that the name of each of them emphasizes certain facets of this culture, and in a broad sense - the semantic features of its national creative thinking.
However, these creative realities has evolved, embodying the culture of a wide range of peoples, calculated not in millions and billions of people in the twentieth century, and had to compete unequally with the works of composers of European thinking. Honestly, this struggle has not been without difficulties; in addition, except for success there were losses, and sometimes even creative impersonality. However, it is possible and necessary to be traced, undoubtedly, positive and creative interaction, the results of which positively affected both monodi-cal and polyphonic thinking the middle of the last century. It is noteworthy that the rich intonational traditions primary (Monodical) copyright work in the subsequent music of composers of Uzbekistan had an important tempo-forming significance in the development of new genres and forms. Moreover, in the process of searching for each composer they had a basic function of deeply national "Achilles" support. Moreover, we can say that there is practically no European genre, the introduction of which in Uzbekistan could be imagined without both folklore, and verbally professional heritage, and selected works created by bastakors in the further and near past.
There is a natural question, was there an opposite process? To what extent compositional thinking, could influence author's mono-creative work? To find answers for these questions, it is not so easy, as this is the question for our colleagues, it will be very difficult to trace and analyze the process and even more so to draw conclusions on the creativity of bastakors, in contrast to the conventional music composers.
If composer's works can be clearly and without difficulty, to identify where and how he used this or that quoted melody (which sometimes, as ozonizing "island" comes from the depths of modern compositional styles, the latest trends and the most fashion-
able technologies of "high and low frequencies"), the same clarity cannot be found and the works created by bastakors.
Primary from European culture, Uzbek bastakors accepted only some signs of genres (such as suite or marching), separate polyphonic techniques, timbral parameters.
Since the mid-twentieth century, the use of the recent realities of the composer creativity was the Uzbek bastakors, individual musicologists (T. Vis-go), and composers (S. Babaev) called "primitive polyphony", and from the end of the century called "monodical polyphony" (N. Yanov-Yanovskaya).
Fundamentally, new stylistic realities in the national Bastakor's work began to appear in the middle of the XX century and they are primarily associated with the name of the unsurpassed performer (on Chang, dutar) and the refined bastakor Fakhriddin Sadikov. In his ensemble instrumental works, beginning with "Uzbek Waltz", you can see special beauty colored timbre of the sound of each instrument, sometimes separated from the whole ensemble.
Subsequently, there was a whole tradition of such multi-colored, but monodical inherently style, through the research of F. Sadikov and his contemporaries who bastakors are Kamildjan Jabbarov, Nabijan Khasanova, Mukhammadjan Mirzaev. It is gratifying that the first of these authors have begun to work at the Department of Oriental music at the Tashkent State Conservatory, in the process of teaching specialization and ensemble performance, started to implement this timbre-polyphonized style of performance, both as instrumentalists, and singers of traditional orientation.
In the process of such a similar, creative, practical and fundamentally new model of learning, such well-known performers, and further outstanding bastakors as Abdukhashim Ismailov, Ulmas Rasu-lov, Akhmadjon Dadaev got deep knowledge and real skills for a new creative direction monodic thinking.
Naturally, the authors of new generation, relying on the experience of their predecessors, seek
to enrich and significantly expand the genre-style framework of monodical creativity. Today, the tradition began to take shape half a century ago, namely, rainbow-like timbral polyphony and its branches, are improving day-by-day.
However, until now, musicology of Uzbekistan or Central Asia, and even scientists and colleagues overseas have not been undertaken retrospectively analytical study of modern monodic thinking, which has been determined on the level of a particular creative phenomenon of the East in twentieth century.
For this reason, since 1980 we have sought to find a natural, logically adequate concept like terms this phenomenon.
Given that the phenomenal feature of this author's creativity in the main starts from the reality of monodic deploy freely intenial intonation system, we considered that possible to call it polymonode.
It is known that, in sectorial encyclopedic dictionaries, there are a number of terminological combinations, based on Greek, the number of which is increasing from edition to edition. So, if in the second (revised and enlarged) edition of the "Encyclopedic Musical Dictionary" (Moscow: 1966), in such combination were given 7 terms (Polyhymnia, polymetria, polyserially, polythematism, polytonal-ity and polyphony), VI volume of "Musical encyclopedia" (Moscow: 1978) along with these, there are 5 terms (polyharmony, polyakkaord, polymodality, polystylistics and polyfunctionality).
Finally, in the authoritative "Seven-lingual Dictionary of Musical Terms" (1978) prepared by the publishing house ofHungarian Academy of Sciences, these 12 terms are filled by five more, such as polychorals, polystrophs, polissoir, polythematics, polytext.
Such an increasing progression of polyterms in modern musicology, gave me more confidence in the proposed and published in a whole series of my works (monograph "Creative resources of national
monody...") (T.: 1987); "Materials of International Symposium dedicated to 1400th anniversary of Borbad" (Dushanbe: 1990); National Encyclopedia of the Republic of Uzbekistan. Volume VII. (T.: 2004) and volume XI. (T.: 2006) a new concept.
As a bright, creative model example of genuinely Uzbek polymonodies can cite the work of Ab-dukhashim Ismailov entitled "Holim so'rma" ("Don't ask me") for gijjak and the ensemble of traditional Uzbek folk instruments. It does not only demonstrate the technical arsenal of one of the most advanced stringed instruments, but also demonstrates the multimodal possibilities follow-up activity and it is deeply focused on Koranic thoughts - monologue (soloist) in the opening section and more generalized presentation in the main sections.
Somewhat different, to a certain extent, the chamber view of polymonody can be traced to the work of Ne'matjon Kulabdullaev "O'ylamang" ("Don't think") performed on a gijak and rubab.
Interestingly, at the turn of XX-XXI centuries the specific features of polymonody take place in the works of famous Western (O. Messiana and his pupil L. Nono), as well as a number of Armenian (Komitas, S. Agadjanian), Azerbaijani (F. Amirov, N. Aliverdibekov) and of course uzbek bastakors and individual composers.
Convinced that the bright samples of polymonody, is rich traditional music of many neighboring countries in Central Asia and other regions of the Middle East. In particular, getting acquainted with the first volume of "Anthology of Kazakh Music", we happily discovered many examples of this (Volume I: № 12 and 14, etc., Volume II: No.130, 252, 255, etc.). As well as in the great works ofAzerbaijan (mugham) and Armenian (works for duet of duduk players) by word of mouth-professional creativity, regularly tuned in the programs of the International Festival "Sharq Taronalari".
References:
1. Yano-Yanovskaya N. Uzbek music and XX century.- Tashkent,- 2007.
2. Gafurbekov T. Creative resources of national monody and their refraction in Uzbek music.- Tashkent,-1987.
3. Seven-lingual Dictionary of Musical Terms.- Budapest,- 1978.
4. National Encyclopedia of the Republic of Uzbekistan.- Volume VII.- Tashkent,- 2004. - Volume IX.-Tashkent,- 2006.
