Page 43 - DIVA_2_2018

CULTURE

Khoresm compositions as <<Naqsh>>, <Suvora>>,
<<Faryod>> and <<Muqaddima>>, performed solo
under accompaniment of instrumental en-
semble. Poems of classics of oriental poetry
served as the main sources of text in Khoresm
maqoms. Main themes were love-related,
lyrical, philosophical, didactic ones. Khoresm
maqoms reached their peak in development
under the rule of Muhammad Rahimkhon
Soniy (who was a poet and bastakor under
pseudonym of <<Feruz>>). On his initiative a
special musical notation <<Tanbur notation>>
was created, with a help of which Khoresm
dutar and tanbur maqoms were written down
in last quarter of the XIX century and which
was used till 40s of the XX century in musical
practice based on <<Ustoz-shogird>> (<<Master-
apprentice>>) methodology.

Since the XX century Khoresm maqoms have been re- companied by an instrumental ensemble.
corded, scientifically studied, and mastered through the Development of musical language of maqoms is closely
new system of music education. The bearers of maqom connected with the impact made on them by peculiarities
traditions in Khoresm were Khudoybergan Muhrkan, of traditional music of the Ferghana Valley, in particular:
Matpano Khudoyberganov, Matyoqub and Matyusuf by such genres as ashula (Toshkent Iroqi, Kocha boghi),
Kharrot, Madrakhim Sheroziy, Khojikhon Boltaev, R. katta ashula (Yovvoyi Ushshoq, Yovvoyi Chorgoh) and
Jumaniyozov, I. Ibragimov, K. Otanoyozov, 0. Khudoy- instrumental melodies (Choli Iroq); or on the basis of
shukurov, R. Qurbonov. F. Davlatov, R. Boltaev and oth- shuba Ushshoq - <<Khojand Ushshogi>> or <<Ushshoq
ers. At present Khoresm maqoms are promoted by pro- Sodirkhon hofiz>>, <<Samarqand Ushshogi>> or <<Ushshoq
fessional and folk maqom ensembles of Urgench, Khiva Khodja Abdulaziz>>, <<Toshkent Ushshogi>> or <<Ushshoq
and Khanqa. It became a good tradition to organize Mulla Toychi>>, which bear the names of their creators
traditional performance competitions named after Kh. or certain locality; instrumental maqom compositions
Boltaev, K. Otaniyozov (Khoresm), 0. Khudoyshukurov and cycles for surnay such as <<Navo>>, <<Surnay Dugohi>>,
(RepubUc of Karakalpakstan), which demonstrate tradi- <<Surnay Iroqi>>, etc. They were performed in urban envi-
tions of Khoresm maqoms. ronment, in the court of rulers and in many folk events
such as weddings, folk promenades (sayils) and holidays,
Ferghana-Tashkent Maqoms during tightrope walking (dorbozlik) shows.
Ferghana-Tashkent maqoms represent a phenomenon
which is unique and original in the system of maqomat At present maqoms and relevant composition are mostly
(maqom art) of Uzbekistan existence of which is associ- mastered verbally based on <<ustoz-shogird>> (<<master-
ated with musical culture of the cities of the Ferghana apprentice>>) methodology, while relevant information
Valley and Tashkent region in the form of separate instru- and knowledge are being integrated into the new sys-
mental and vocal samples and small cycles (from three to tem of music education (i.e. in colleges of music and art,
seven parts). Ferghana-Tashkent maqoms got formed at Conservatoires, music schools). Considerable contribu-
the turn of the XVIII-XIX century on the basis of shuba tion to the development and promotion of the Fergha-
of Shashmaqom (sarakhbor, tarona, savt, qashqarcha, na-Tashkent maqoms was made by famous musicians,
soqiynoma, ufar) and musical traditions of the Ferghana singers and bastakors of Uzbekistan, including A, Ab-
Valley. Instrumental maqom cycles include: <<Mushkiloti durasulov, T. Toshmuhammedov, S. Babasharifov, Yu-
dugoh I-III)), <<Ajam taronalari I-Ill>>, <<Chorgoh I-V>>, nus Rajabiy, A. Ismoilov, A. Umrzoqov, J. Sultonov, M.
<<Miskin I -VII >>, which are performed solo (by playing on Uzoqov, R. Mamadaliev, Shoumarov brothers, Shojalilov
tanbur, dutar, nay, gidjak) or by instrumental ensemble. brothers, 0. Khotamov, 0. Alimakhsumov, 0. Imomkho-
jaev, Kh. Nosirova, S. Qobulova, T. Qodirov, K. Rakhimov,
Vocal maqom cycles include: 0. Otakhonov, T. Alimatov, M. Yochieva and others. It is
<<Nasrullo I-Ill>>, <<Chorgoh I-V>>, <<Bayot I-V>>, <<Bayot thanks to these people that Ferghana-Tashkent maqoms
Sheroziy I-V>>, <<Shakhnoz-Gulyor I-V>>, <<Dugoh- were safeguarded, preserved and got enriched. And it
Husayniy I-Vu>>. Singing style is solo, i.e. a singer is ac- is thanks to these people that new generation of young

INTERNATIONAL DIPLOMAT - DIVA 41