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CULTURE

and no event or feast was organized without perform- ones, though its intonations and melodic variations are
ance of these vocal pieces. They were so popular that to be found in Muhammases of other maqoms. In vocal
among the people even the saying emerged, <<if the first pieces of maqoms of Buzruk and Rost popular are na-
one is 'a golden ring then the second one is its 'pearl'<<. muds under the title of <<Ushshoq>>. It is also possible to
In accordance with written sources, the author of poems see shubas of Ushshoq and Namudi Ushshoq in the cycle
and melodies was considered Feruz, a famous poet and of Khoresm maqoms.
bastakor (Muhammad Rakhimkhon II). In the past vo-
cal pieces under the title of <<Eski Feruz>> (<<Old Feruz>>) Among people some variations of vocal pieces of Ushshoq
were performed based on the poems of Feruz. However, became widespread. These were created by Uzbek bas-
on his initiative Feruz 1 began to be performed based takors (A. Abdurasulov, Y. Rajabiy, F. Mamadaliev) and
on the poem of Ogakhiy called <<Mushkin qoshingni famous singers (1 Toshmuhammedov, S. Babasharifov).
hayati, ul chashmi jallod ustina>>. Feruz 2 is also based These usually bear the names of regions or creators. From
on the poems of Ogakhiy named <<Vah, ne balodir bil- among them it is possible to mention Ushshoq of Sa-
madim, ey dilrabo, qoshu kozing>>. It is constructed markand or Ushshoq of Khodja Abdulaziz (based on the
based on intonations of instrumental interlude of epic poem of Zebuniso called <<Biyoki zulfi kaju chashmi sur-
melody called <<Nolish>>. Subsequent pieces in the cycle maso injost>>), Ushshoq of Tashkent or Ushshoq of Mulla
of Feruz (Feruz 3-5) are predominantly in the form as Toychi (based on the poem of Navoi called <<Qaro kozum,
well as usuls of savt and ufar; and in terms of their mel- kelu-mardumlig emdi fan qilghil>>), Ushshoq of Khodjent
ody-tonal and rhythmic nature they are sophisticated or Ushshoq of Sodirkhon (based on the poem of Jomiy
and perfect. These pieces are passionate, cheerful and called <<Ba yak qarashma Zulaykho vashi dili Toro>>), and
enchanting; have intensive doira rhythms. One of those, Ushshoq of Kokand, Ushshoqi Rasulqori, Ushshoqi Or-
who are able to perform the whole cycle of Feruz 1-5, is ifkhon, Ushshoqi Fattokhkhon, Qadimiy Ushshoq, Daro-
Khojikhon Boltaev, a famous singer of Khoresm. madli Ushshoq, Savti Ushshoq, Zikru Ushshoq, IJmrzoq
Polvon Ushshoq, etc. In Ferghana Valley, on the basis of
Ushshoq Ushshoq, songs of katta ashula (Yovvoyi Ushshoq) and
Ushshoq (in Arabic - <<lovers>>) is the name of one of instrumental pieces for surnay (Surnay Ushshoqi) be-
the maqoms in maqomat system consisting of twelve came widespread.
maqoms (i.e. duvozdakh maqom) and popular shuba
(piece) of Shashmaqom cycle, which was widespread in In the XX century a famous bastakor and singer, Fatta-
the Middle Ages. In general a pieces of lyrical and love- khkhon Mamadaliev, created vocal cycle of Ushshoq. In
related theme, performed by the voices of lovers, is called addition, on the basis of Ushshoq, Rasulqori Mamadaliev,
<<lJshshoq>>. Ushshoqs in the form of instrumental and a singer from Ferghana Valley, created instrumental and
vocal pieces are widely existent in musical practice of Uz- vocal pieces as well as funeral-related songs (marsiya
bek and Tajik peoples at present. Parts of maqom Rost - dedication). In contemporary times composers of Uz-
- Muhammasi Ushshoq (instrumental piece), Talqini bekistan use Ushshoq in operas and music dramas, in in-
Ushshoq, Nasri Ushshoq and Ufari Ushshoq (1st shuba strumental, choral, chamber and vocal genres.
group of vocal section), Savti Ushshoq (2nd shuba group
of vocal section) - are considered to be popular shubas SEVARA MAKHMUDOVA
in Shashmaqom cycle. Notably, melodic structure, form FREELANCE RESEARCHER
and doira usuls in Muhammasi Ushshoq are complex UZBEKISTAN

INTERNATIONAL DIPLOMAT - DIVA 43