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TYPOLOGICAL FEATURES OF UZBEK, CHINESE AND KOREAN MUSICAL INSTRUMENTS Ergasheva G.T. Email: [email protected]
Ergasheva Gulchekhra Turobovna - Senior Researcher, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIK OF UZBEKISTAN
Abstract: the musical instrumentation is of great interest not only from the point of view of material culture, but also terms of the evolution of musical thinking. For in the process of instrumentation evolution, those changes that took place in the sphere of the world perception of different peoples are reflected, as well as in the evolution of the performing culture. The study of musical instruments in the context of the historical development of musical culture allows you to set the specifics of their evolution, the spheres of their existence, also typological featuresthat allows you to set the phase development of musical culture in general and in particular tool.
Keywords: micro intervals, typology, plectrum, cymbals type instruments, zither type instruments, chang, kanon, santur.
ТИПОЛОГИЧЕСКИЕ ОСОБЕННОСТИ УЗБЕКСКИХ, КИТАЙСКИХ И КОРЕЙСКИХ МУЗЫКАЛЬНЫХ ИНСТРУМЕНТОВ Эргашева Г.Т. Email: @scientifictext.ru
Эргашева Гулчехра Туробовна - старший научный сотрудник, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: музыкальный инструментарий представляет огромный интерес не только с точки зрения материальной культуры, но и в плане эволюции музыкального мышления. Ибо в процессе эволюции инструментария отражены те изменения, которые происходили в сфере мировосприятия различных народов, а также в эволюции исполнительской культуры. Изучение музыкального инструментария в контексте исторического развития музыкальной культуры позволяет установить специфику их эволюции и сфер их бытования, а также типологические особенности, что позволяет установить фазы развития музыкальных культур в целом и инструментальной в частности.
Ключевые слова: микроинтервалы, типология, плектр, цимбалообразные инструменты, цитрообразные инструменты, чанг, канун, сантур.
UDC 78.7
The musical instruments of the peoples of Central Asia are closely connected with historical destiniesand the way of their life. Especially the ancient caravan trade routes («Ruby Road», «Desert Road», «Great Silk Road») played a significant role in the migration and distribution of instruments, as well as in the establishment of political, economic and cultural ties between states. In the era of geographical discoveries, the East began to include in addition to the countries of the Near and Middle East, South and South-East Asia, Central and North Asia, the Far East (China, Japan, Korea). Many of them are connected with the centers of ancient civilization, an integral part of the culture, which is the music. All these regions are characterized by their extraordinary length of time the traditions and rich musical instruments that are rooted in antiquity.
The excavations carried out on the territory of Uzbekistan, archeologists have repeatedly found the ancient image of musical instruments, had a complete similarity with the traditional musical instruments of other countries. For example, the string plucked instrument, recorded Аfrosiab and Merv terracotta, served as the prototype of the medieval Arab udaand later Europeans lute. Moving East, Sogdian lute transformed into the Chinesepipa and Japanese biwa [1, 48] This is once again confirmed by historical and cultural closeness of the peoples of Uzbekistan and other countries of the East.
The similarity of historical destinies determined certain features of kinship in the musical instruments of the East. Many constructions similar instruments are the national instruments of many nationalities, despite their existence in various countries. Take for example the cymbals-zithers type instruments. The Uzbek musical instruments are string percussion instrument chang and kanon plucked string.
Modern chang has a trapezium style, consisting of a flat wooden box. As the sound source it is a stringed instrument, and by the method of sound production shock, however chang is a string percussion instrument. Chromatic scale. On deck chang in two rows arranged stand (12 + 12), dividing
the strings on the high and low sounds. Above each stand are three steel strings, which emit a single tone. Sound is produced using bamboo sticks with rubber tips.
Similarly Chang tools can be found in Tajikistan - chang; Iran, Turkey - santur; China, East Turkestan - cheng; Mongolia - yochin (yangchin), etc. Despite the constructions similarity of identical and expressive possibilities, among the various peoples of these musical instruments sound different. The reason for this is the kind of music of every people, as well as their manner of execution of musical expression techniques.
For example, on a deck santur how on chang two rows of supports (9+9), but they are movable and are calculated for each group of strings. In the performance of a selected dastgah the system which requires the least number of movements of supports, as a result of which there is a sound in the diatonic scale microintervals. On change reorganization by moving the supports cannot be, since they are connected to the top ebony wire.The sound palette also has distinctive features. On chang due to the large tension steel strings, the instrument sound more vivid and saturated. It can be played along with the traditional classical music by composers of Uzbekistan and foreign classics. On santur copper strings. Copper is a soft metal nature, natural sticks santur, which extracts sounds more fragile than chang sticks. Sound santur gentle, intimate, designed to perform traditional music.
The historical materials recorded information on the existence of santur in the distant past in Central Asia. Medieval scholar Darwesh Ali Changiv (XVI-XVII), in his "Treatise on Central Asian music" refers to the Turkish santur where Ustad-e-Hussain Udi was sent together with the Turkish Embassy to Sheibanids Abdullah Khan, testing Maveraunnahr musicians [4, 98]. According to other sources, a Persian noble guest presented the Khorezm Shah Muhammad Rahim Khan (1864-1910), santur, then this instrument has spread in Khorezm [3, 19].
Focusing on the many sources we can assume that life in those days, this instrument not widely used. Only a few centuries, brought musicians from Kashgar, East Turkestan instrument called cheng, became widespread in Central Asia. These data are evidence of close contacts of the Eastern peoples at different times.
Uzbek kanon-zither type instrument that has a trapezium style. When musicians play on the index fingers of both hands put the iron thimble, under which underlay ebony plectrums. On the kanon of each stand are three strings, which are published one tone. We are located shelves under the strings of iron levers with which the strings, rising and falling, changing the pitch of a tone or semitone. Kanon because of its beautiful and peculiar tone, are used in orchestras and ensembles of national musical instruments, as accompanying and solo instrument.
According to the table appearance of the main types of instruments K. Zaksa, the emergence of musical instruments such as harp dates back to the Early Bronze Age [2, 135]. The first written mention about this instrument refer to the VI. BC, i.e. Achaemenid period [5, 152]. Image zither this period was also found among the Chinese monuments (Chinese instrument tsin VI c. BC).
Tsin had an elongated body in the form of a wooden box over which strings were stretched 5-7. It sounded ceremonial bands, as well as an important attribute of everyday life aristocratic elite. Evolutionary development of this instrument, as well as the geographical position of ethnically related countries, contributed to the emergence of similar zither type instruments as Chinese gu-chzeng, the Korean gayagim, the Japanese koto.
Chinese gu-chheng - has twenty one strings with movable stand. Strings iron, overgrown with synthetic filament. Sounds are taken plectra attached to 1-2-3-4 fingers.
Gayagim - is one of the main solo instrument of traditional Korean music. Previously, the most common were the twelve stringed gayagim, a change of instrument design were 15, 17, 18, 21 and 25-string. Strings gayagim synthetic. Unlike other instruments related to the gayagim sound extracted fingertips, i.e. on the philosophical worldview living touch of the strings makes sound sophisticated.
Koto - Japanese traditional musical instrument. On the koto is played with the help of artificial nails mediators (kotodzume) worn on the thumb, index and middle fingers of his right hand. According to traditional Japanese propensity to various sound effects in music, there is in this case a number of techniques. For example, one such technique is the scraper on the strings, which is a contrast to the basic string reception pinching. Frets and tone configured using the string stands just before the start of the game. To change the height of the sounds in the game player presses the strings fingers of his left hand.
As you can see, all the nations of the world were and are fundamentally similar structurally many string instruments. As if they were not called at one or another people, a distinctive feature is the single typology - one altitude sound of each string and a wooden cabinet in the form of a trapezoid, a rectangle, etc. Musical instruments - a reflection of the world view of society at different periods of
history, the product of spiritual and material culture. As in the past, and in the modern period, continuing the exchange of cultural ties between the countries.
References / Список литературы
1. VizgoT.S. Musical instruments of Central Asia. Historical essays. M., 1980.
2. Gruber R.I. The history of musical culture. T 1. M., 1941.
3. MironovN.N. Music Uzbeks. Samarkand, 1929.
4. Central Asian treatise on music Darwesh Ali (XVII century) manuscript number 449. Translation Rashidova D.
5. KhakimovN.S. Musical culture of Tajiks. Khujand, 2004.
ОБРАЗ ГЛАВНОЙ ГЕРОИНИ В БАЛЕТЕ «ТОМИРИС» УЛУГБЕКА
МУСАЕВА
Набиева М.Н. Email: [email protected]
Набиева Мухайё Намаджоновна - музыковед, сотрудник, Союз композиторов и бастакоров Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: в статье рассматривается музыкальный образ Томирис как один из самых ярких женских персонажей в современном узбекском балете. Характеризуются основные черты её сложного и многогранного облика, уникального склада историко-легендарной личности. На основе анализа выявляется круг музыкальных выразительных средств, используемых композитором для создания национально самобытного, художественно ценного, духовно богатого образа, созвучного эстетическим идеалам нашего времени.
Создание музыкального образа в балете как основы для хореографического воплощения на сцене является сложной проблемой, выдвигающей перед композитором ряд творческих задач. Особый интерес в этом отношении представляет образ главной героини в балете «Томирис» узбекского композитора Улугбека Мусаева (1948-2000). Неоспоримая художественная ценность данного произведения убедительно доказана его востребованностью, непрерывной сценической жизнью со дня премьеры до настоящего времени. Балет «Томирис» является одним из самых любимых спектаклей Государственного Академического Большого театра имени Алишера Навои (далее -ГАБТ имени А. Навои), привлекающим мастерством балетной композиции.
Ключевые слова: балет, музыка, образ, главная героиня, выразительные средства, интонация, ритм, тембр, оркестр, драматургия.
THE IMAGE OF THE MAIN CHARACTER IN THE BALLET "TOMIRIS"
BY ULUGBEK MUSAYEV Nabieva M.N.
Nabieva Mukhayyo Namadjonovna - Musicologist, Worker, UNION OF COMPOSERS AND BASTAKORS OF UZBEKISTAN, TASHKENT, REPUSLIC OF UZBEKISTAN
Abstract: the article examines the musical image of Tomiris as one of the most vivid female characters in the modern Uzbek ballet. Characterized by the main features of its complex and multifaceted appearance, a unique warehouse of the historical-legendary personality. On the basis of the analysis, a range of musical expressive means used by the composer to create a nationally original, artistically valuable, spiritually rich image, consonant with the aesthetic ideals of our time, is revealed. The creation of a musical image in ballet as the basis for a choreographic incarnation on the stage is a complex problem that puts forward a number of creative tasks for the composer. Of particular interest in this respect is the image of the main character in the ballet Tomiris by the Uzbek composer Ulugbek Musaev (1948-2000). The undeniable artistic value of this work is convincingly proved by its demand, continuous stage life from the day of the premiere to the present time. The ballet «Tomiris» is one of the most popular performances of the State Academic big theater named after Alisher Navoi (hereinafter - the big theater named after A.Navoi), attracting the skill of ballet composition. Keywords: ballet, music, image, main character, expressive means, intonation, rhythm, timbre, orchestra, drama.
