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8THE INFLUX OF WESTERN MUSIC IN UZBEK MUSICAL ART AND
LITERATURE
Gulnora Kahhorova
Master's Degree student, Namangan State University
ABSTRACT
The article analyses the emergence of western music among Uzbek people and subsequent combination of western and national melodies. Music has an irreplaceable place in the development and civilization of humanity. It is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music.
Keywords: shashmaqom, orchestra, brass, repertoire, composer, Kapellmeister, gramophone, classic, folk, enlightener, instrument, performance
INTRODUCTION
Music is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music. Thus, music is connected to the eternal and constant flow and order of the universe, to the laws and rhythms of nature. It can also be said that musical order is comparable to the natural order of the universe. There are laws of a certain nature in the natural sciences and likewise in music there are structures and procedures, or even rules, that should be followed to produce beautiful music.
THE MAIN PART
One of the centres of ancient culture - the peoples of Central Asia made a significant contribution to the treasury of world science and culture. They also have a very rich and ancient heritage in the field of music culture. Ancient written sources on the history of the musical culture of the peoples of Central Asia and the monuments found by archaeologists testify to this and confirm the high culture of these peoples. The spiritual beauty of the Uzbek people is reflected in the melodies that come from the depths of centuries. National music has been a living expression of the rich spirituality, deep thinking of our ancestors for many centuries.1
History has shown that in the second half of the XIX century, Russian empire conquered all of Central Asia. From that on Central Asia gradually became a colony of the Russian Empire as an integral part of the economic, social and cultural region.
1 A.Odilov, M.Tashpulatov The study of Eastern note systems is in the context of national values//International scientific conference Samarkand-Shanghai. 2016. -P.342.
Russian culture began to enter the country. The first Russian music to enter Uzbekistan was an orchestra consisting of melodies performed with brass instruments. The repertoire of these brass orchestras was Western European works by composers of the XIX century. Since the late 1970s, these orchestras have also began to perform Uzbek melodies which were processed by local Kapellmeister.
In 1883, the Music Society was established in Tashkent, and in 1884 it started its activity. Many Russian citizens began to be evacuated from Russia to Uzbekistan. As a result, the ranks of the Tashkent Music Society expanded.
In the second half of the twentieth century and in the early twentieth century, Uzbek artists were famous not only in their own countries, but also in other countries. In particular, hafiz Haji Abdulaziz Abdurasulov from Samarkand was known for his performing arts in Iran, Afghanistan, Iraq, India and other countries. Hafiz Mulla Toychi Tashmuhamedov from Tashkent won the respect of music fans in Chugachak, Gulja and Yorkent.
At his initiative, gramophone and record stores were opened in a number of Central Asian cities. In 1905, the Riga Gramophone Society recorded about 25 of his classical and folk songs, such as "Bobo Ravshan", "Ilgor", "Bevafo dunyosan". His songs also spread to European countries.
The development of national music in Uzbekistan was also directly related to the Jadid movement. Jadids educated the nation and people with religious and secular enlightenment, science, culture and news, self-expression, awakening from the sleep of socio-spiritual ignorance, lifestyle, thinking, spirituality, culture. They were led by a number of progressive enlighteners, such as S. Ayni, A. Avloni, M. Behbudi, A. Fitrat,
"5
Munavvar Qori, A. Shakuri and so on.
The Music and Ethnography Department of the People's Commissariat of Education was established in December 1919 to study and record Uzbek folk music. The department began its work at the People's Conservatory in Tashkent that year. G.Zafari, V.Uspensky, N.Mironov, E.Melngaylis started to record and promote songs on various topics.
In 1923, V. Uspensky went to Bukhara, where he recorded the shashmaqom performed by the great masters of maqom, father Jalol Nosirov and father Qiyos Abdug'ani. It was published in 1924. V. Uspensky was also engaged in research works. In 1927, he published an article entitled "Uzbek classical music". In the same year, A. Fitrat also wrote his book "Uzbek classical music". In this book, Fitrat gives information about the parts of "shashmaqom", performers-musicians, and musical instruments.
2 N.Yuldasheva, N.Raxmatova Uzbek music literature Tashkent "IQTISOD-MOLIYA". 2016. -P.46.
3 N.Yuldasheva, N.Raxmatova Uzbek music literature Tashkent "IQTISOD-MOLIYA". 2016. -P.47-49.
The opening of the Research Institute of Music and Choreography in Samarkand in 1928 was an important factor in the study of Uzbek music. Halim Ibodov, Ota Jaloliddin Nazirov, Matyusuf Kharratov, Ota Giyos Abduganiev contributed greatly to its organization.
National musical theaters was begun to be established in the early twentieth century. The State Musical Theater of Uzbekistan was officially established in 1929. The Uzbek state concert-ethnographic group, formed in 1926 under the leadership of M.Koriyokubov, laid the foundation for the formation of the ensemble. In this ensemble together with M.Koriyokubov Tamarakhonim, Yusufjon Qiziq Shakarjanov, Usta Olim Kamilov, Madaminjon Alikhonov visited Andijan, Namangan, Margilan cities and invited artists such as Rakhon Sultanov, Hoji Siddiq Islamov, Abdukodir Ismailov, Davlat Ahunov, Tokhtakhon, Tajikhon, Kholchahon to the ensemble.
The establishment of the Uzbek State Philharmonic in 1936 provided an opportunity to bring together famous musicians and singers of the Republic and increase their creative efficiency. The Philharmonic also had a choir and a folk instrument orchestra. The choir was conducted by A. Chetvertakov. The performance of Philharmonic artists Halima Nosirova, Domla Halim Ibodov, Usta Olim Kamilov, Muhiddin Qori Yakubov, Mullah Toychi Tashmuhamedov, Tamarakhonim at the final concert of the Decade of Uzbek Art in Moscow in 1937 testified the development of Uzbek music.
CONCLUSION
During the period under study, complex genres of professional music, such as opera and ballet, emerged in the country. The emergence of symphonic works on the basis of Uzbek national melodies, the first experiments in the creation of Uzbek romances also date back to this period. During this period, music and educational work were carried out on a large scale. The art of Uzbekistan during this period was enriched by great creative achievements in the genres of musical theater and symphonic music.4
REFERENCES:
1. A.Odilov, M.Tashpulatov The study of Eastern note systems is in the context of national values//International scientific conference Samarkand-Shanghai. 2016.
2. N.Yuldasheva, N.Raxmatova Uzbek music literature Tashkent "Iqtisod-Moliya". 2016.
3. Abdurauf, A., Feruza, M., & Amirbek, A. (2020). The Formation of Museums and Innovative Achievements in Uzbekistan. JournalNX, 6(05), 14-16.
4 N.Yuldasheva, N.Raxmatova Uzbek music literature Tashkent "IQTISOD-MOLIYA". 2016. -P.52-57
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