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CU LT U RE

Shas maqom

a classic music of orient

I

Shashmaqom (in Farsi - <<Six maqoms>>) is a leading mu- gions of the country. Since 1975 competitions of amateur
sical-cyclic genre of musical heritage of Uzbek and Tajik maqom ensembles and since 1983 - international as well
people, which got formed in the XVIII century on the as republican competitions of young maqom performers
basis of system of 12 maqoms (or Duvozdakh maqom) and ensembles have been conducted. Among the bearers
and music traditions of Bukhara, which is considered of Shashmaqom traditions it is possible to mention Ota
one of the most ancient cultural centers of Central Asia. Jalol Nosirov, Ota Ghiyoz Abdughani, Levi Babakhanov,
Shashmaqom is a cycle consisting of six maqoms, name- Domla Khalim Ibadov, Yunus Rajabiy, Fakhriddin Sodi-
ly Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of qov, Berta Davydova, Turghun Alimatov, Munojot Yol-
these consists of two parts respectively, i.e. instrumental chieva, Olmas Rasulov and others. Among ensembles it
one (which is called <<Mushkilot>>) and vocal one (which is possible to mention maqom ensemble named after Y.
is called <<Nasr>>), representing more than 250 cycles of Rajabiy, maqom ensemble of Bukhara Regional Philhar-
instrumental and vocal compositions in total. Shash- monic Society. In 2003 <<The Music of Shashmaqom>> was
maqom got formed in urban environment, and its bear- recognized by UNESCO as the <<Masterpiece of Intangi-
ers of traditions were well-known musicians and sing- ble Cultural Heritage of Humanity>> and in 2008 was in-
ers. Its vocal part was performed in Uzbek and Tajik scribed in the Representative List of Intangible Cultural
languages. The texts were mainly taken from the poems Heritage of UNESCO (joint nomination by Uzbekistan
of classics of oriental poetry and were dedicated to love- and Tajikistan).
related, lyrical, philosophical, didactic, religious themes.
Folk poetry examples were also used. Most widely used Khoresm Maqoms
musical instrument was tanbur. Instrumental part of each Khoresm maqoms are one of the local types of maqom,
maqom included instrumental compositions such as spread in Uzbekistan. The cycle of <<Khoresm maqoms>>
<<Tasnif <<Tarje>>, <<Gardun>>, <<Mukhammas>> and <<Sakil>>, emerged on the basis of Shashmaqom and music traditions
performed either solo or by instrumental ensemble. Vo- of Khoresm at the turn of the XVIII-XIX centuries and
cal parts are considered the most difficult and complete comprises of such maqoms as Rost Buzruk, Navo, Dugoh,
ones in terms of structure, melos and form and are di- Segoh, Iraq and Pandjgoh (in practice they are called <<Six
vided into two cycles (shuba): the first one includes <<Sar- and a half maqoms>> or <<Khoresm Shashmaqom>>). Each
akhbor>>, <<Talqin>>, <<Nasr>> and <<Ufar>>, performed by a maqom in its turn is divided into two parts, i.e. instrumental
leading singer - hofiz; between main parts <<Tarona>> was part called <<Chertim yoli>> (Mansur) and vocal part called
sung by vocal ensemble as a connecting one. The second <<Aytim you>> (Manzum). The cycle includes about 200 in-
cycle (shuba) includes five-part cycles of <<Moghulcha>> strumental and vocal compositions. Famous composers of
and <<Savt>> (except maqom <<Iroq>>), the creators of which Khoresm, such as Niyozkhon Hoja, Feruz, Komil Khoraz-
were bastakors (creators of oral musical tradition). miy, Muhammadrasul Mirzo, Matyoqub Harrat and others
created new instrumental compositions and enriched them
Starting from the XX century Shashmaqom has been re- in terms of form and content. Khoresm maqoms have been
corded (by V. Uspenskiy, Yunus Rajabiy, A. Babakhanov) performed with application of own local traditions and
and published in the form of separate collections, has musical dialects. Instrumental part unites a cycle of instru-
been scientifically studied and integrated in the new sys- mental compositions as <<Tanimaqom>>, <<Taije>>, <<Gardun>>,
tem of music education (music schools, academic lyceu- <<Peshrav>>, <<Muhammas>>, <<Saqil>> and <<Ufar>>, which are
ms, colleges, the Conservatoire, Institute of Art and Cul- performed either solo or by instrumental ensemble. Vocal
ture). Activities associated with awareness- raising about part comprises of vocal and instrumental compositions as
Shashmaqom are nowadays conducted by professional <<Tanimaqom>>, <<Talqin>>, <<Nasr>> and <<Ufaf' (<<Tarona>> was
and amateur maqom ensembles, operating in all re- performed only after <<Tanimaqom>>) as well as typical for

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