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4THE HISTORY OF THE DEVELOPMENT OF THE ART OF STATUS AND
THE ROLE OF SCHOLARS IN IT
Marufjon Abdumutalibovich Ashurov Andijan State University
Abstract: In explaining this topic, we will be content with briefly mentioning the available information on music sources in the 10th-19th centuries. Most music treatises explain the theoretical foundations of the scales. This article describes the history of the development of Maqam art and the role of scholars in it.
Keywords: ancient, written sources, monuments, different eras, people's liberation struggle, great figures, musical instruments, musical instruments, musical knowledge, cultural life, musical culture
Introduction
The peoples who lived in Central Asia, one of the centers of ancient culture, made a significant contribution to the treasury of world science and culture. They also have a very rich ancient heritage in the field of musical culture. Ancient written sources on the history of the music culture of the peoples of Central Asia and the monuments found by archeologists serve as proof of this and confirm that these peoples have had a high culture since ancient times. Many valuable resources have been lost under the influence of the processes, changes and attitudes of the ruling powers to the national culture of the local people. For this reason, only written sources related to the history of the culture of the peoples of Central Asia in the last thousand years have reached us.
The main part
In the second half of the 9th century, as a result of the rise of the people's liberation struggle in Movarounnahr and Khorasan, as a result of the strong resistance and uprisings of the local peoples against the invaders, the rule of the Arab caliphate was overthrown, and the local state of the Tahirites and then the Somanites was established. During this period, certain conditions were created for the development of culture and art. A number of scientists from Central Asia became world famous with their scientific works in the history of medieval science in the same period.
Therefore, for the time being, we will be content with briefly mentioning the available information from music sources in the X-XIX centuries. Most music treatises explain the theoretical foundations of the scales. Abu Nasr Farabi was one of the great figures who founded the theory of music of the peoples of Central Asia.
Pharoah. The great philosopher-scientist, one of the founders of medieval Eastern music theory - Abu Nasr Muhammad Farabi was born in 873 in the city of
Farob on the banks of the Syr Darya River, and died in 950. He comes from the Turkic tribes of Central Asia and receives his initial education in his native city. A well-educated person, Farobi went to Baghdad, Damascus, and then to Egypt, where he increased his knowledge.
Farobi was also a great musician and music theorist. He played all the musical instruments available in his time. He especially played the tunes on flute and tanbur instruments with great skill. According to some sources, Farobi invented the instrument of law, and did a lot of work in improving the oud, which was popular at that time.
The great scientist was one of the leading scientists of his time who created profound scientific works on philosophy, logic, mathematics and other subjects. And the science of music was considered one of the mathematical sciences.
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.
Among Farabi's musical works, Kitabul-musiqi al-kabir is particularly noteworthy. This book was translated into French by the famous Oriental scholar D'Erlange and published in the "Arab Music" series.
The work consists of an introduction and three books.
In the introduction, the author discusses the definition of melody, theoretical and practical issues of music, emergence of melody, musical genres, instruments, definition of melodies, performance of melodies, intervals, sound lines, consonances and dissonances.
The work consists of an introduction and three books.
In the introduction, the author discusses the definition of melody, theoretical and practical issues of music, emergence of melody, musical genres, instruments, definition of melodies, performance of melodies, intervals, sound lines, consonances and dissonances.
In the first book, musical acoustics, the ratio of tones (sounds), types of intervals, the rules of their formation, rhythms and other issues are explained.
The second book deals with sounds such as oud, tanbur, nay, rubob, their strings, strings and range.
The third book is dedicated to creating melodies and statuses, rhythm, instrumental and vocal music, melody decoration and other issues.
The third book is especially important in clarifying the status issue.
Here are the types of tetrachords and pentachords, the many types of maqamot, and its branches.
It should be mentioned that Abu Nasr Farabi in his immortal work prepared a deep ground for the creation of musical notation in the East. Consequently, he invented the lad (maqam) writing samples, which are directly related to the pitch basis of the tunes, and wrote them down with the help of letter symbols.
In this place, it is necessary to mention the predecessor of Farabi, the great doctor and scientist Abu Bakr Muhammad bin Zakari ar-Razi (240, born in Ray in 855). Ar-Razi played a great role in the history of science and culture of the East. When he was young, he practiced playing the oud and loved to sing. Although there is no information about Razi's writing about music, among his books on various fields of science are "Twelve books about art" - "Al isna ashara kitban fis-sanati" was also a work. One of these books probably discussed music theory.
The scientific and theoretical works of Farobi and other scientists were written in Arabic according to the students of their time and explain the fundamental issues of the theory of Eastern music. Abu Nasr Farabi's music treatises and books are among the most perfect and most famous of the works written about it, and served as the basis for the writing of the books of his followers, who lived and created in recent times. One of his followers was Abu Ali ibn Sina.
Abu Ali ibn Sina. Ibn Sina (980-1037), a great scientist from Central Asia, was born in the village of Afshana near Bukhara. He was a great philosopher, naturalist, famous physician, and also a great music theorist. The musical part of Ibn Sina's works such as "Kitabush-shifa'" ("Book of Healing"), "Donishnama" ("Book of Knowledge"), "Kitabun najat" ("Book of Salvation") and "Risalatun fi-ilmil-musiqi" ( Among the works of Abu Nasr Farabi, such treatises as "Treatise on the Science of Music" have a special place in the history of world music science and culture.
One of the main works of Ibn Sina - "Kitabush Shifa'" is philosophical in nature, and it reflects the author's natural-scientific views. The author explains the natural sciences of his time in 13 parts. Including the theory of music here. In the Maqomlar monograph of Maqomologist Ishaq Rajabov: "The work consists of 4 major sections:
1. Logic
2. Physics (Nature)
3. Exact sciences
4. Metaphysics
One of the clear subjects is music. Ibn Sina elaborates the theory of music here. The issue of musical acoustics, sounds, intervals, genders and sets, statuses, rhythms and tunes will be deeply substantiated from a scientific and theoretical point of view.
Another of his works, the part devoted to music [6] of Kitabun-najat, briefly explains the elements of music from a theoretical point of view. In this work, little space is devoted to the issue of status.
In Ibn Sina's work entitled "Donishnama" written in Tajik language, some theoretical issues of music are explained in the section devoted to mathematics. Another philosophical work of his - Kitabul-ishorat ("Handbook") is also noteworthy from the point of view of musical science.
According to Ibn Sina, philosophy is a complex of sciences, that is, the science of the whole being. As a great follower of the Greek scientist Aristotle, he did not follow him blindly, but used only the part of his teacher's thoughts that was acceptable to his belief and philosophical system. Ibn Sina divides mathematics into 4 sciences: arithmetic, geometry, astronomy and music. Ibn Sina's musical views also differ from the way of Greek scholars. He tried to connect the theory with the practice in the field of music and to generalize this issue with his tool. This was one of the great services of the great scientist in the field of music culture.
Ibn Sina did not limit himself to writing special scientific-theoretical works about music, but also reflected his works on music in medical books. This was no accident, of course. Ibn Sina, in his immortal works on medicine, highly valued the emotional power of music and recommended it as a healing program in the treatment of mental illness.
In one place in his book "The Law of Medicine", Ibn Sina evaluates the spiritual influence of music and simply describes the importance of music in the upbringing of the baby: "Two things are necessary for the body of the baby to be trained: one is to gently move it, the second is the mother's song (allasi). The first belongs to the (child's) body, and the second to the soul."
Al-Khorazmi. In the history of musical culture of the 9th-10th centuries, the part dedicated to music in "Mafotihul-ulum" ("The Key of Knowledge") by Abu Abdullah Muhammad ibn Yusuf al-Katib al-Khorazmi, a great lexicographer from Central Asia, has a special place. This work of Khorezmi is one of the important sources in the history of science and culture of the peoples of Central Asia. In particular, the music section of this dictionary describes the musical instruments available at that time and provides detailed information about each of them.
In general, the scientists of the East initially considered music to be one of the sciences of philosophy, so they included it in their books written in the style of a dictionary. In this, they undoubtedly took into account the artistic-aesthetic power and socio-educational role of music.
The science of music was considered as one of the mathematical sciences. The reason for this is that the sounds that make up the music are in a certain proportion to each other and are explained by some mathematical rules. Initially, the pitch of the
sounds that make up the intervals was measured by the length of the string. In this case, narrow parts are determined by geometry, and different intervals are extracted from its known parts. For example, the ratio of two to one (that is, the sound produced by half of the open string in relation to itself) is an interval in the octave circle and is expressed in mathematics as 2:1. In the same sense, the ratio of 9 parts of a string to 8 parts is a major second, its ratio 4:3 is a quarta, 3:2 is a fifth, 8:3 is an undecima, 3:1 is a duodecima, and 4:1 is a quintadecima. . There were many types of intervals, and the ratio of the sounds that formed them was explained on the basis of mathematical rules. Even the mutual proportions of some sounds (steps) that make up gender, plural and statuses were explained with the help of numbers. For this reason, along with arithmetic, geometry, and astronomy, the science of music was considered one of the mathematical sciences.
The peoples who lived in Central Asia made a significant contribution to the treasury of world science and culture. They also have a very rich ancient heritage in the field of musical culture. Ancient written sources on the history of the music culture of the peoples of Central Asia and the monuments found by archeologists serve as proof of this and confirm that these peoples have had a high culture since ancient times.
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.
Ibn Sina's philosophical works such as "Healing", "Salvation", "Isharat" and "Wisdom" have become universally important in the history of world science and culture. This situation can be seen from the evidence showing the strong interest of scientists in different countries of the world with Ibn Sina's works.
It should be mentioned that Urmavi was the first to systematize the issue of "Twelve statuses" ("Duvozdahmakom"), "Voice" and "Shoba" in his works. Consequently, the East invented sheet music models and recorded maqam and other composed melodies on them.
The status system, which existed in the peoples of Central Asia until the 18th century, found its clear expression approximately during these times (here we are talking about the basis of the status).
When you get acquainted with Safiuddin Urmawi's musical works, it is not difficult to distinguish that his theoretical considerations are closely related to musical practice.
By the middle of the 15th century, poetry and music flourished in Herat. Numerous works of poetry and music, theoretical treatises, literary and musical culture created during this period confirm the high level of culture of literature and music.
In terms of studying the history of music culture in the time of Navoi and Jami, historical and literary works indirectly related to music are also very important as the main sources. In these works, the names of musicians, singers and composers, songs that were in use at that time, songs and dances performed at the khan's palaces, public entertainments and holidays are mentioned. During the time of Sultan Husain, artisans, along with other classes of the society, participated in the holidays and organized songs and games in the streets and places where the community gathers.
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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