Page 44 - DIVA_2_2018

CULTURE

musicians and singers were is less thick while the sound is
brought up. Nowadays, Fer- soft and resonant). Along with
ghana-Tashkent maqoms are karnay, doira and naghora it is
included in the programmes usually used by traditional fes-
of international and republi- tive ensembles. As a rule it is
can competitions organized used to notify about important
among young performers of events in someone's life (about
maqom and maqom ensem- wedding ceremony, for exam-
bles. ple), in the life of a community
(about folk festivities, sayils,
Dutar Maqom Cycles holidays such as Navruz, etc.);
Dutar (in Farsi - <<two or about spectacular perform-
strings>>) is a stringed musical ances (shows of puppeteers,
instrument, which is widely-spread in the culture of peo- ropewalkers, etc.).
ples of Central Asia (Uzbeks, Uigurs, Tajiks, Turkmens
and Karakalpaks). Uzbek dutar differs from other mu- Maqom pieces and cycles for surnay (independent pieces,
sical instruments with its soft, beautiful and expressive such as <<Surnay navosi>> or <<Surnay dugohi>> as well as
sound. It bears mentioning that this musical instrument cycles as <<Buzruk - Buzmk savti>>, <<Navo - Navo savti
occupies a leading place in traditional performance (es- - Navo charhi 1-2>> etc.), are popular in Ferghana Valley.
pecially among women). In the XIX-XX centuries sev- Their melodies, usuls and structures are almost identical
eral schools of performance existed in Uzbekistan (i.e. in with those of Shashmaqom, though they differ in terms
Andijan, Tashkent, Ferghana, Samarkand and Khoresm). of performance traditions and styles, which are peculiar
Though, each of them differed from the rest with its spe- for Ferghana Valley. Popularizers of surnay and surnay
cific character, style as well as bearers of traditions. maqom pieces were famous musicians like Rustam me-
htar, Ashurali mehtar, Khamroqul bolaman, A. Umur-
In the XIX-XX centuries dutar maqom cycles be- zoqov, Khudoybergan Qurbon oghli, A. Azimov, Q.
came widespread in Khoresm. And by using so called Bobojonov, A. Yusupov. At present these are Y. Tojiev, A.
<<Khoresm tanbur notation>> six dutar maqoms (i.e. Zikhi Khojiboev, M. Matyaqubov and others.
Nazzora-Urganji, Miskin, Rakhoviy, Iroqi, Ohyor, Choki
Giribon) together with their cyclic parts (each consist- Nowadays the traditions of playing on surnay are mas-
ing of 2-7 parts) were created. Each maqom cycle has its tered through <<ustoz-shogird>> (master-apprentice)
own distinctive melody, form, methods of performance methodology and through the official system of music
and poetic texts. Famous bearers of dutar performance education at music and art colleges, conservatoires, etc.
traditions are T. Alimatov, F. Sodiqov, N. Boltaev, K. Mad- (Notably, a performer of surnay, while studying at these
raimov, M. Sherozi, A. Khamidov, M. Ziyoyeva, and oth- educational institutions, simultaneously masters the skill
ers. Nowadays, dutar is a widespread musical instrument of playing on bolaman and qoshnay). In addition to the
among the youth. In this regard various competitions are aforementioned, competitions of traditional performance
organized regularly on the national level. In addition, the on surnay are organized on a regular basis.
techniques of playing on dutar as well as the knowledge
associated with dutar maqom cycles are studied at various Feruz
secondary special and higher educational institutions. Feruz (literally - <<stone of happiness>>) is a widespread
and well-known vocal genre in Khoresm. It represents
Surnay Maqom Cycles a five-part cycle called <<Feruz I-V>>. It evolved based on
Surnay is a wind instrument, which is existent and ob- shuba of maqoms of <<Navo>> and <<Segoh>>, representing
servable in the culture of the peoples of the Middle East the cycle of <<Khoresm maqoms>>. Feruz is an original
and Central Asia (it was also known under such names vocal cycle, which has its own local features. It embod-
as <(surnay>>, <<syrney>>, <<zurna>>, etc.). In Uzbekistan lo- ies Khoresm singing style, and is observable in the rep-
cal variations of surnay, i.e. metar and bolaman, became ertoires of famous singers of Uzbekistan. As a distinct
widespread as well. Its sound is distinct, somewhat shrill vocal genre under common name of <<Feruz>> it became
and high so that it is always played in the open (for this widespread at the beginning of the XIX century, more
reason it is sometimes called as <<a street instrument>>). exactly, during the rule of Muhammad Rakhimkhon
In Uzbekistan two styles of performance on surnay are I (1807-1826), and emerged as a result of creative col-
widespread, i.e. Ferghana- Tashkent style (in which men- laboration of famous bastakors (creators of oral music;
suration is broader, the sound is beautiful and somewhat composers) and singers. In particular, Feruz 1 and Feruz
ornamental) and Khoresm style (in which mensuration 2 were once very popular among connoisseurs of music

42 DIVA - INTERNATIONAL DIPLOMAT