CC BY
0TREATISE BY AN UNKNOWN AUTHOR "SIRATU ASRORI IL-ILOHIYA" AND THE ORIGINS OF THE 12 MAQAMS IN THE TREATISE
Amonov Dilshod Abdurakhmanovich diyor005@gmail.com State Conservatory of Uzbekistan
Abstract: This article reveals the origins of the famous 12 maqams in the treatises: unknown author, Caucabius, Husayni and Jami. The ratio of the frets of these authors is compared.
Keywords: Maqam, fret, treatise, Kawkabi, Jami, Husaini, horoscope, author, manuscript, Ushshak, Rast
In the world musical heritage, a special place is occupied by the living traditions of maqamat art, rare manuscript sources directly or indirectly related to them. These works have various forms, including as part of an encyclopedia (a certain chapter can be devoted to musicology) or as an independent treatise, in Persian, Arabic and Turkish languages, they were created in the East for many centuries, that is, from the 7th century to the 20th century.
Scientist A. Djumaev "There are three major historical periods in the evolution of the authority in the Middle Ages: VI-VII centuries, from the XIII to the XVI centuries, and from the XVI to the beginning of the XX centuries. The system of the authority is relatively stable in every period. [1, 16-24]
According to some researchers, the X-XI centuries are one of the most important periods in the development of musical science. Central Asian scientists and thinkers Farobi, Ibn Sina, Ibn Zayla and Abu Abdullah Khorezmi made an incomparable contribution to the development of Eastern musical science in the 10th-11th centuries. If we go to the direct analysis of the treatises, let's start with the treatise "Siratu asrori il-ilokhiyya".
The first chapter is about how the twelve maqam came into being, but know that the emergence of this (twelve maqam) consists of two stories. The first story: According to the teachers, Plato got the melody from the 12 zodiac signs. For example: from Hamal - Rost, from Savur - Isfahan, from Jawza - Iraq, Kuchak, Buzruk, Hijaz, Busalik, Ushshaq, Navo, Hosseini, Zangula, Rahavi (Ruhavi) emerged from the product of Tanbur craft [2].
The author relates the emergence of the twelve statuses to two stories. The first story states that Plato got the melody from the 12 constellations Hamal-Rost, Savr-Isfahan, Jawza-Iraq, Kuchak, Buzruk, Hijaz, Busalik, Ushshaq, Navo, Hosseini, Zangula, Rahaviy emerged from the craft of Tanbur. Information about the
constellations is given in the Qur'an and there is also a Burj surah about the constellations [3]. Today, the constellations determine the names of the seasons and months, and at that time they were determined by the constellations.
The connections of the 12 maqam with the 12 zodiac signs are given by Kavkabi in his treatise "Risalai muzik" as follows: Ushshaq - from Hamal, Rakb - from Zanab, Ikkiyot - from Ros, Ko'chak - from Hut, Hijaz - from Davl, Zangula - from Jaddi, Iraq
- from Kavs, Isfahan - from Aqrab, Buzruk - From Mizan, Navo - from Sunbula, Rahavi
- from Asad, Busalik - from Saraton, Rost - from Javza, Hosseini - from Savur.
The author of the manuscript states that the rest of the statuses are taken from the constellations Rost - Aries, Isfahan - Cow, Iraq - Gemini, as the craft of the word tanbur [the author does not give the zodiac signs related to the rest of the statuses and generally writes that they are from the craft of tanbur, because he did not know about the rest of this factor or directly about Plato can be assumed to have written the narrative].
I. Rajabov's book states the following: "According to some sources, it is said that the twelve statuses are related to the twelve zodiac signs (months) of the year, and it is said that the 24 Shuba are made in connection with the 24 hours of the day. In addition, the playing time of each maqam is shown in 12 parts of a day [4, 97].
It is the impression that this melody entered and appeared in the world at that time (time). And according to another Yamin (reliable), one day Hazrat Musa, peace and blessings be upon him, touched the river Nile and said: O this stone will rise and rise, and the floods of the river will not stay with it in the desert until the day it reaches the desert. The people of Musa, peace be upon him, were thirsty. Hazrat Musa, peace be upon him, calls out when he prays. "O Moses, strike the staff of your companion on the stone," and Moses struck his staff on the stone, and 12 different waves appeared from the fountain. And from every wave came a voice. Hearing the music, Moses praised the melody. And they say that it appeared from here [2].
The author cites a number of myths here, one of these myths is that Plato made music from 12 zodiac signs and appeared in this period, comparing them to the 12 zodiac signs, and ends the first story as a sucker that appeared.
H. In Nisari's work "Muzakkirul-ahbob" Maulana Najmiddin Kavkabi says in the section "the science of music is excellent in its maturity and is famous in interpretation and classification. The collection of this knowledge is attributed to Hakim Pythagouris [5,139].
From this source, it is clear that these treatises contain information about ancient Greek scientists, and both authors attribute the emergence of the science of music to them. He connects the second story of the emergence of 12 maqam with Moses.
About this narration, Daya Ram Kachru Khushdil's treatise "Taronai Surur" also mentions the appearance of 12 maqam (tunes) with the same narration with Musa alayhissalam [6]
In addition to the sources mentioned above, this narration is also mentioned in the Holy Qur'an (Surah Al-Baqara, verse 60).
And Allahu Alam. That is the 12 status. 1- Rost, 2- Isfahan, 3- Khijaz, 4- Iraq, 5-Kuchak, 6- Husayni, 7- Ushshaq, 8- Navo, 9- Busalik, 10- Buzruk, 11- Rahavi and 12-Zangula [2].
Referring to the creation, the author writes the names of the 12 statuses in numerical order. In order to compare which of these statuses are earlier and later, this manuscript has prompted us to refer to several treatises. So, this sequence in Abdurrahman Jami's treatise is clearly different from this manuscript. However, Jami 12 maqam looks at the system of 24 branches and 6 sounds with a mathematical approach, that is, the drawings corresponding to the strings of the oud sound show the sound series by means of circular dots.
Some say that the status of Ushshaq is the first because it is wider and more extensive than the others. Asahh (reliable) is the true foundation (first) for Qawli. The reason why it is called "ummi advor" is that all statuses originate from the true nagmah, and it is also called Yakgoh. And in another Abdul Qadir kulliyat (hash) first created the status of truth, but some say that they say ushshaq after truth, because they have aspects of intimacy [2].
The author of the manuscript gives several opinions about which is the first status, in one of them he puts forward the status of Ushshaq, and in the other, the status of Rost, but he explains the reasons for each opinion. Perhaps the difference in the above table is also due to this. Which status is preferred is directly related to the opinion of the practitioner or scientist.
By Abdul Qadir, it is most likely that Abdul Qadir Maroghi is meant by the author of the manuscript, referring to the Kuliyat of the manuscript, and putting Rost's status first (with this opinion, the author once again confirmed the sequence of teachers such as Abdul Qadir Maroghi, Khoja Yusuf Burhan and Darvesh Fazlullahi Noyi according to the master's family tree, it is no exaggeration to say that he is the successor of his theoretical and practical views).
But this poor man says that dozens of Eshans (scholars) are close to each other. The colors of Isfahan are more similar to Rost. It happened that it ends with Isfahan at the end of Rost [2].
By implying that he relied on the theoretical views of the scholars, the author continues his reasoning and explains the similarities and differences of various statuses
[lads], Isfahan sound line [may have used the
term color here in the sense of similarity, sameness], Rost sound line
a clear similarity is visible in the example of the quoted sound lines [the quoted sound lines are based on Husayni's treatise
"Qanun"].
After that, Hedjoz and Iraq were heard, but the tune did not match well. Some people say that Khidjaz is the same as there is Rost between Uzzol. And this poor thing, I have always heard from the language of teachers that Khidjaz is the original, Turks read, speak and sing there. As mentioned in the image of the speaker, Hidjoz is also said by scholars to be true [2].
Continuing his opinion, the author implies that Hidjoz is widespread among Turks and that it originates from that region, and based on the words of scientists, he also asserts that it is true. But if we analyze the sound lines, we can see some differences.
Khidjaz sound line " [Above is the Rost scale]
And some people call Kuchak Zirafkand, and it is also the same, in the sense of cutting off, rather "kuchak" is cutting off. So Kuchak became the original and part of Zirafkan [2].
I. Rajabov said: "The status of Zirafkand or Kuchak. Zirafkand means jump down, descent and bed, bed time. The reason for this is that this maqam was performed for different purposes in the past. According to some music pamphlets published in the 17th-11th centuries, each maqam reflected the mood of a person at certain times of the day. Zirafkand probably got its name because it reflects the mood when lying down. His second name is Kuchak (small) status [4, 48]
Kuchak (Zirafkand) sound line is the fifty-ninth of the musical circle.
And some others call "Husayni" "Zerkash". But this is such a maser, because it is formed from the height of Zerkash Husayni. And Zerkash and Hosseiny are proud of Navo 's softness [2]
The author notes that Husayni is also called Zerkash, but only the height of Zerkash is taken from Husayni and the shortness is taken from Navo. With this opinion, the author opposes the views of others and describes it as a separate sound line. We found it necessary to analyze the theoretical views presented in this treatise, so Navo [the fourteenth of the musical circle in Hosseini's treatise "Qanun"] is a sound line
height of Husayni and the lowness of Navo are taken, the following sound series is formed, and this corresponds to the Zerkash sound series.
And some say that Zangula is not like that, so they say that Zangula is made of sharpness and buzrug is soft [2].
The word "Zangula" ("bell", "bell") comes from the meaning of a bell (zang) that is hung around the camel's neck or tied to a drum. In addition, the small bells that are worn on the hands and feet while dancing are also called by this phrase. The term Zangula has not been preserved in the maqam system. Paying attention to the structure of the Zangula sound series, the author emphasizes that it is composed of Buzruk high and Zangula low. This sound series is the forty-fifth of the musical circle given by Jami, and it is the forty-second in Husayni. There are differences in the sound series given by both scholars.
In this section, the author describes in detail the emergence of the twelve statuses in two stories, one related to Plato and the other related to Prophet Moses. Lists the twelve statuses one by one in sequence. This quoted sequence was compared with a number of treatises. Then, the author gives his opinion about which status was the first, mentioning Ushshaq in one and Rost in the other. Har explains why he thinks so. At the end of the chapter, the similarities and differences of status [lads] are discussed separately.
References
1. Джумаев А. К проблеме эволюциии и эстетически х учений о макамате//Вопросы эстетики, истории и теории монодии. Ташкент,1987. С, 1624.
2. Но маълум муаллиф, №8739/III: Рисоланинг номи хам номаълум. Кулёзма, УзР ФА Абу Райхрн Беруний номидаги Шаркшунослик институти №8739/III, Б. 105-111
3. Куръни Карим, Бурж сураси. "Касамёд этаман (ун иккита) буржларга эга осмон билан....."
4. И. Ражабов "Макомлар масаласига доир" Т. 1963. Б. 97
5. Хдсанхожа Нисорий. Музаккирул-ахбоб (Дустлар ёдномаси). Тазкира. -Т., 1993. Б. 139
6. Кашмирском научно-исследовательском институте, Сринагар, «Серия текстов и исследований Тарана-э-Сарур Кашмир, № 89, 1962 г. — Исследовательский отдел JK»
