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DOI: http://dx.doi.org/10.20534/EJA-17-1-39-41
Tashmatova Azatgul, Ph. D. in History of Arts, Professor of the Chair of performing folk instruments of the
State Conservatory of Uzbekistan Tashkent, Republic of Uzbekistan E-mail: [email protected]
The orchestra of Uzbek folk instruments — the phenomenon of national musical culture
Abstract: The article deals with the orchestra of Uzbek folk instruments as a phenomenon of national musical culture, shows its artistic growth and the motivating force of its development, the main trends in the direction of change in the organizational structure and repertoire affecting listen-ership and socio-cultural significance.
Keywords: Uzbek orchestra of folk instruments, conductor, concert listener, phenomenon, repertoire, work of art, performing arts, traditional heritage, artistic and aesthetic value.
The formation of the orchestra of folk instru- sometimes variationUsul, has already laid the ge-
ments as a professional polyphonic performing staff — a process long and complicated, which has its own characteristics in different national cultures.The ways of the historical development of musical art inevitably lead to the using of various forms of collective music-making, because the purpose of music is due to the social unity of people. In this direction, the orchestra — a society of musicians, which has its own point of view of collective music-making. The presence of an orchestra is an indicator of the musical culture of the people, their intelligence, talent, skill.
In Uzbekistan, the formation of the orchestra of Uzbek folk instruments was in the middle of the 1930s, although the origins of collective instrumental performance go into the distant past. Traditions of ensemble playing in Uzbekistan have deep roots, which led to the revival of the originality and uniqueness of tone combinations in the Uzbek orchestra of folk instruments. One of the most important factors of the Uzbek cultural identity of the orchestra were parallelisms fourths and fifths ofdutars, in consonance of tanbur formed during rhythmic grazing empty strings. This historically established principle
nome of the future of the orchestra.
The orchestra of folk Instruments originated from consequence of the democratization of culture as an artistic phenomenon that meets the requirements of the time. These requirements put forth life itself, in particular, the renewal of the education system, society wide scope of musical culture, which led to an intensive modernization of musical instruments and their adaptation to new socio-cultural conditions. Creating bands occurred on the basis of creative initiatives of musicians seeking to meet the demands of students and achieve a high level of professional performing arts. This is a complex and dynamic process put forth a series of goals and objectives that need to be solved.
Since it passed a long historical path, orchestras of folk instruments have retained their unique timbre specifics of national nature. Inexhaustible possibilities enrich the orchestral score, a variety of colorful and expressive means inherent in the musical instruments of Uzbek people, manifested in treatments of folk melodies and suites of miniatures and in large instrumental genres such as rhapso-
of traditional ensemble playing as a comparison of dies, overtures, poems, concerts. Scores of orches-
self-moving lines of tunes held the strings and wood- tral works of art reflected the typical trend of indi-
winds in the background rhythm accompaniment vidualization in orchestral groups, acquiring certain
doira or nagora, which is a multiply repeated, and expressive function. The unique of originality and
Section 2. Musical arts
specificity bright national orchestra of Uzbek folk instruments emerged regardless of the composition, the repertoire and the functional purpose of a collective. The phenomenon of nationality is determined by social status of musical instrument functioning as a major factor of cultural development.
Distribution of using folk instruments of high spiritual beginning with the direct participation in the process of performing collective of musicians
who master the content of the national art phenomenon is a great educational value that forms the national consciousness and mental identity. An important role in this process is the artistic criterion, which must not be decreased. The degree of effectiveness of the impact of the sound of the orchestra of folk instruments on the listener depends on the professional qualities of the conductor, on his intellect and culture. The orchestra of folk instruments is an aesthetic and spiritual value in itself, organically combining with ethnic, traditional and new values, orientations by modernity.
The development of the Uzbek orchestra per-formingraises issuesbetween timbre and dynamic sounds of musical instruments. The composition of musical instruments are grouped on the basis of the performance of those or other functions. In the process of performing the activities of the orchestra progressed, enriched, and improved. The composition of the orchestra has changed. There was an acquisition an independent function plectrum high register instruments — rubab prima, dutarprima, dutar seconds. Number of percussion instruments and string instruments were increased. Thus, conditions were created for balancing sonority both within groups and between them, expanding the range of orchestral sound, its density and saturation.
Nowadays the lifeof orchestra occupies an important place ofwork systems, intonation, rhythmic ensemble, strokes and techniques of the play and expressive performing. The fundamental principle of the orchestral group is to bring the music to the listener's mind, interested in his performance skills. "Literature and art are an effective means of influence on people's minds, bringing them to the rich cultural, historical and spiritual and moral values, the treasures of world civilization. The main task of
literature and art should be the education of comprehensively developed, spiritually rich personality " [1, 64]. In accordance with this principle, the idea of national independence, the art of music as a form of culture contributes to the humanization of society and is involved in the formation of harmoniously developed generation. The orchestra of Uzbek folk instruments, as a fundamental tool in the promotion of innovative ideas, spiritual values, contributing to the high level of cultural education, the development of intelligence.
The practice of musical education shows that a deep insight into the artistic content, meaning the essence of a work of art can only be achieved if the listener can discover the music aesthetically meaningful for themselves, meet his spiritual needs. These opportunities have orchestra of Uzbek folk instruments, containing the traditional and modern, as the conductor of the national idea, the presenter of the national mentality. The intonation, rhythmic and modal fields of execution semantics manifested national worldview, native bases heritage, transmitted from generation to generation and enrich the experience of each new stage in the development of musical art.
Education of national culture and spiritual development of the younger generation is one of the priorities of the executive activity of the State Academic Folk Instruments Orchestra, led by artistic director and main conductor of the orchestra DilshodMu-talov. Creative projects of this group include a series of lectures, concerts, acquainting students with samples of national folklore, Uzbek classical music, world music classics. Presentations in the framework of the meeting, projects with composers, the young winners of international music competitions make the event interesting and informative.
Actual significance in the years of independence was creative issues, when the folk instruments have become even more deeply perceived as a national, which is reflected in the concepts of research papers [2] and in the names of groups, striking what can serve as a chamber orchestra of Uzbek folk instruments "Sogdiana", created by the initiative of the Honored worker of arts, professor FiruzaAbdura-khimova in 1991. [3, 11]. This team is an expression
of the new trends in the development of orchestral performance in the country, particularly, chambering composition in which each individual instrument is a whole orchestra group. At the same multitimbral and balance of dynamics, sound ranges are organically interrelated and interdependent in accordance with the artistic content of the music. "Sogdiana" is the musical emblem of independent of Uzbekistan, which is popular not only in oir country but abroad also; where it was awarded the highest awards, and special works of art created by Uzbek and foreign composers.
Fruitful experience of "Sogdiana" receives the continuation and development of activities of new groups. In 2013, there was a chamber orchestra of Uzbek folk instruments "Navruz", director — Sher-zodUmarov. It is composed of talented performers playing instruments such as the nay, koshnay, surnay, chang, kanun, rubob prima, Kashgarrubob, Afghan rubab, dutar prima, dutar alto, bass dutar, gidzhakan-ddoira [4, 41]. Among the participants — winners of international and national competitions, graduates and students of the Faculty of Eastern Music of the State Conservatory of Uzbekistan, which make a significant contribution to the orchestral performance on Uzbek folk instruments. Creative collective activity "Navruz" isa visual confirmation of the Republic of Uzbekistan of Uzbek national orchestra performing arts, multiply the education of the younger generation in the spirit of love for the motherland, respect and respect for the priceless national cultural heritage.
In the years of independencethe orchestra of Uzbek folk instruments has found a new direction, the horizons of creative activity, stimulating the creativ-
ity of composers in search of new ideas, concepts, expressive language means. The fundamental way of creative activity of the orchestra of folk instruments as the presenter of the national ideology, the idea of independence is seen in a recess in the historically layers of traditional heritage, revival of ancestral spiritual values.
Another way of development is related to the experimental search of modern means of expression, drawn from the rich inexhaustible source of folk instruments, with the result that there are new soundopportunities. Finally, a special line of development is associated with various forms of cooperation with the Uzbek orchestra of instrumental culture with other peoples of the world, the art of ethnic jazz. The development of various layers of the national and foreign art, both ancient and modern, opens up broad prospects for the development of national musical art and its active entry into the world community.
Today orchestral performing on Uzbek folk instruments are one of the best achievements of world music, not only in the most prominent composers and performing achievements, but also in the modernization construction of instruments, innovative technologies, development of methodical and scientific thought, pedagogy and the entire educational system. The orchestra of Uzbek folk instruments, confidently entered into the twenty-first century, gives every reason for prospective further development, the performing arts of folk music, attracting more and more concerned and careful attention of the international music community as a unique phenomenon of original national culture of Uzbekistan.
References:
1. The idea of national independence. Basic concepts and principles. - Tashkent, - 2003.
2. Liviev A. History of the Uzbek national musical instruments. - Tashkent, - 2005.
3. Tashmatova A. "Sogdiana" the state chamber orchestra of folk instruments. - Tashkent, - 2016.
4. Tashmatova A. Chamber orchestra of Uzbek folk instruments "Navruz"//Sanat. - 2014, - No. 1.
