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3THE THEORY OF TRADITIONAL PERFORMANCE ART AND ITS METHODOLOGICAL FOUNDATIONS
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: music treatises, contemporary music, Eastern music theory, musical instruments, musical instruments, musical knowledge, cultural life, music culture, music and rhythm
Introduction
The issues raised in the Eastern music treatises are close to the elemental theory of contemporary music. But in the medieval music treatises, there are also issues related to the practical aspects of the music of the Eastern peoples of the past, which are not found at all in modern music theory. Because the specific features of Eastern music theory were related to practical issues related to musical works performed in the past.
The main part
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. Music theory in the works of music scientists who lived and created in recent times -Safiuddin Abdulmomin, Mahmud bin Mas'ud Sherozi (13th, 14th century), Khoja Abdulkadir (14th century), Zainulobidin Husayni, Abdurrahman Jami (15th century) and others. was further developed.
Safiuddin Urmawi. The great scientist of the people of Azerbaijan (Mahmud Shirozi said: "In his time, there was no scientist equal to him in terms of music theory..." [8; 20]) Safiuddin Abdulmomin Urmavi (died 1294) Eastern music theory and achieved high levels of success in practice. He took the "science of music" started by his predecessors to a higher level. His works "Risalatush-Sharafiyya" ("Honorable Treatise") and "Kitabul-advar" ("Book of Music and Rhythm Circles") occupy a special place in the history of the development of Eastern music theory.
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.
Urmawi's "Sharafiyyah" sheds light on music theory and partly on the issue of maqam (lad), while the work "Kitabul-adwar" discusses about maqam and rhythm circles.
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.
Although the author often wrote his works with Iranian-Azerbaijani and Arabic music in mind, they also refer to the music of the peoples of Central Asia. Because his works reflect the musical theoretical views of his predecessors - Farabi and Ibn Sina.
Mahmoud Shirazi. The era of Mahmoud bin Mas'ud Sherazi was full of historical events. At this time, the peoples of Central Asia were under the rule of Genghis Khan's galas. The invaders destroyed the cities and killed the working population. The peoples of Central Asia suffered economic and cultural decline, and the development of local science, literature, and art suffered a severe blow. In the 13th-14th centuries, science, literature and art continued to develop only in the lands that were not conquered by the conquerors. Mahmoud Sherazi's musical work was also a product of the same period.
Mahmud bin Mas'ud Qutbiddin was the "scholar" of Shiraz's time. He was born in 1236 in Shiraz, Iran, and died in Tabriz in 1310. He was one of the most educated and advanced people of Shiraz's time. His father is a doctor and an educated man, who tries to educate his son. He received his first education from his father, then from his uncle, and then became a student of the famous scholar Nasruddin Tusi (died in 1274). After traveling to Rome, Syria and other countries for many years, he returns to Tabriz. Here he teaches and writes commentaries on astronomy, medicine, philosophy and similar works of his predecessors. Among them, Ibn Sina's commentary on the work "Qanunu fit-tibb" deserves special attention.
As a result of his many years of scientific research, Mahmud Shirozi wrote the encyclopedic work "Durratut-taj..." ("Taj durlari..."). This work is one of the first works written in Persian, so the language is very complex.
XIV-XV centuries gave fruitful results in the history of music culture of Central Asian peoples. During this period, feudal relations flourished in Central Asia, craft production and trade developed further, and a significant shift took place in various
fields of culture. Medieval science, literature and art began to revive in Central Asia and Khorasan.
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 in the places where the community gathers.
Among the monuments of literature and music of the 15th century, it is necessary to point out poetry divan and bayozy. Navoi and Jami, their contemporaries, compiled many collections of such poems. Musician-composers used to select poems for the songs of maqams from these collections of poems. That is why these collections are important in the study of the history of music culture, they served as a necessary guide for musicians and composers, and therefore allow us to determine the content of the lyrics of the songs performed in the 15th century.
During the time of Navoi and Jami, many music theorists, skilled musicians and singers, composers, and maqamdons appeared.
Maulana Jami. Mawlana Nuriddin Abdurrahman bin Ahmad al-Jami, a great classical poet and famous scholar of the Tajik people (1414-1492), was born in the village of Jam near Nishapur, studied in the city of Herat, and lived there until the end of his life.
His multifaceted creative activity was blessed in the fields of literature, science and art. Abdurahman Jami is the author of many scientific and literary books and pamphlets. Among his scientific works, Risolai muzikay (Music Treatise), which is devoted to music, is devoted to the issues of music theory, and is especially noteworthy in terms of the study of statuses.
Abdurahman Jami was an excellent musician and composer. In the mentioned work of Professor Fitrat, it is mentioned that Jami created a piece of music called "Naqshi Mullo", which was popular in his time. This work is one of the hymns and confirms that Jami was a composer. Jami was an artist who deeply mastered the practical and theoretical aspects of music.
Abdurrahman Jami's Risolai Musiqi was written at Navoi's request when the great scientist was getting old. Navoi mentions the creation of this treatise in his work "Khamsatul-Mutakhayyirin".
A large part of Jami's treatise is devoted to the issues of the Twelve Statuses (Duvozdahmaqam). The work clearly and concisely explains the Twelve Status System and the 24 branches and votes included in the system.
Abdurakhman Jami's musical treatise is one of the best sources for studying the statuses of the 15th century and understanding the theoretical and practical issues of music in his time, therefore, music during the time of Navoi and Jami played an important role in the development of culture. Jami's treatise also serves as an example of a work that shows the content of other music treatises created at that time and which have not reached us.
According to Darvish Ali, the peshrav was created during the time of Amiri Koragoni. Amir Temur gathered poets and musicians and ordered to assign classifications to many verses. As a result, musannifs (composers) connected several compositions and worked on them two sarkhanas, miyankhana and bozgoy. Initially, in those times, Saiful-Musirr attached a peshraw to the status of Iraq. This peshraw had four sarkhanas and it was Du-yak (two-one) method. Then, Ustad Muhammad Latifi Qutbi tied the headscarf to Noi Hosseini. It was called "Peshravi Mushru" in the Peshrav Far' style.
Sawt (sound, tone) is an ashul path with three verses connected, without mustahall, miyankhana and bozgoy. But it is necessary to use "zil", Zil is the instrumental phrase of the song that comes after the verses and refrains. So, if there is no zil, there can be no sound. But even if there is no refrain, there will be a sound. In this case, instead of a refrain, a few melodic sentences are used, such as a zil. Maulana Binai (15th-16th century) did this in his savt, which worked on the branch of Panjgoh in a muhammas way. Darvish Ali said that the sawt was made like a pattern, and it should be called a pattern or a color. Sawt was the action itself in ancient times. Ustad Shadi (15th century) separated Sawt from Amal by adding one zil, and at the same time added a zil composition instead of Sawt's refrain.
In the pattern type of Ashula, verses are placed in the rubai (four sentences of the chant), but no large Sawts and methods are attached to it. If connected, it is not called a Pattern. For example, if it is connected to the form of Mukhammas, it is called Sunbuli.
The form of Rihta (mixed, also known as Rihta in Hindi) is that the stanzas in this song are in Hindi (Urdu). Composer and famous musicologist Khoja Abdulqadir was the first to work on Rikhta. The content of Rikhta's poem is based on the praise of the Prophet Muhammad (pbuh), and the description of the twelve imams was given at the beginning.
Similar to tawil bahr in Saj' (rhymed prose) poetry, the contents are linked together as in Amal form. There will be two sarkhanas, a miyankhana and a bozgoyi. The content of the poem often praises the prophet, priests and imams. His method was Hazaj, and Zahiriddin Babur Rosti attached Saj' to the curtain (that is, status) of Panjgoh.
In the form of Zarbayn (two different beats), two different methods are connected to one. In this case, each sarkhana is in two ways, if the motifs read by verse are in one way, the refrain is in another way. Khwaja Abdulkadir Marogiy called Zarbayn's verses (the part sung with verses) Hafif, his chorus in the Du-yak style, and the chorus in thirteen other styles, and called it thirteen Kuchak. In short, if the form of Amal occurs in Sarkhana, it is called zaharyn.
Summary
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.
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