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Uzbek folk songs
PLAN:
— History of folk songs
- Yalla
- Song genre
— Ceremonial songs
— Epics
Uzbek folk music with its diverse content, form and genre is closely related to the musical culture of Tajik, Turkmen, Bashkir, Kyrgyz and other peoples of Central Asia. These masterpieces created by the people have been perfected and complicated over the centuries and have reached us. Folk songs are a national treasure of Uzbek art, which, despite being monotonous, are wonderfully sung and have different styles.
In the past, there were many khanates in Uzbek Eli, and each khanate had its own musicians and singers. Therefore, folk songs had their own direction in each oase. The fact that the tunes and songs of Tashkent and Ferghana are from the tunes and songs of the Khorezm oasis, the songs of Bukhara are from the songs of Tashkent, or the "Big Song" of the Tashkent and Ferghana oasis is not in other oases. . If the songs of Tashkent, Fergana, Khorezm are musical works with a medium range, the "folk songs" of Bukhara are examples of musical art with a wide range.
Many Uzbek folk songs begin with the interval of a fifth and go up to two octaves (the climax of the song) and return to the main tonality (tonality) with the means of the middle climax. The melodies convey the full meaning of his words and in some places expand the content of the poem even more. Poems are more often written in the form of four lines. Poems in the form of ghazals are mostly used for large-scale works (in "Shashmaqoms"). For example: "Gulizarim" with A. Navoi's poem, "Farghanacha Jonon" with Muqimi's poem, "Oromijan", "Asiriy" with Zavqi's poems, "Naylaram" with Hislat's poem, Furqat's poem with "Figonkim" and others Uzbek folk songs are performed in different ways - from simple to complex measures. For example: "Mughulchai dugoh" and "Mughulchai segoh"-5/4; "Talqin", "Bayot", "Adoi", "Asiriy" and "Chapandozi Bayotlar"-3/8; "Miskin" - 4/4, etc
The accompaniment of musical instruments to our folk songs is of particular importance. In some cases, the melodies are further refined by the accompaniment of the instruments, giving the melody a special polish. Our folk tunes and songs are performed with the accompaniment of two different ensembles. One is in the house, in the room (circle, gizjak, flute, tanbur, rubob, dutor) and the other is accompanied by trumpet, trumpet, drum, several circles and other instruments in big ceremonies. We can divide our folk tunes into two types: instrumental and singing. For example, "Yangi Tanavor", "Dutor bayoti", "Rohat", "Gul Sayri" are musical books, while "Chorgoh", "Bayot-5", "Ushshaq", "Chapandozi navolar" are songs. . Our folk songs are performed in different directions: they consist of lyrical songs, ritual songs, songs about work, lapars, yallas and works created for children.
In Bukhara, Moorish songs are performed, in Tashkent and Fergana - yalla, and in Khorezm, songs of a playful type are performed.
- Yalla-bandli (kupletnaya) song, it is a work performed by three or four singers. The beginning part of the song is performed by everyone, the middle climax by two or three singers, and the big climax by one singer, and the second half of the song is performed by all the singers together. For example, "The caravan is coming" by N. Hasanov, "I'm going to die" from Ferghana Roads, etc.
- Ashula The genre includes songs that have a more lyrical character and express a person's psychological and inner feelings. For example, "Katta ashula" is performed without a musical instrument, and the singer sings while holding a small lick or lali in his hand. A big song requires the singer to have a large diaposon, to be able to breathe well. We listen to the big song performed by three or four singers, rarely by two. For example: "Let's come", "Kop erdi", "I'm lost", "Ul kun jaonon" and others.
— Lapar is a musical heritage that is very common among the people. Lapar is mostly performed by women who combine dance and song. Lapars are composed of works of various contents and consist of melodies that glorify love, work and youth. For example, "Black hair", "Oijon" and others.
— Ceremony (obryadovie) although there are not many songs among the people, but they have entered into the habit of living conditions. For example: "Yor-yor". This song, which is performed during marriage ceremonies, is performed cheerfully and cheerfully at the time of marriage of a girl child. The song "Yor-Yor" has several versions. There is one type in Tashkent, another type in Fergana and Namongan, and another type in Samarkand.
— Marcia, a lament is a series of works sung at death ceremonies. Marcia, women cry inside, at home. The words of mourning are said by the loved ones of the deceased, and the rest express their sympathy with the means of mourning.
— Songs dedicated to work among the works that are often found among the people, these are songs called "Charkh", "Hashar", "Cotton Picking", "Mehnat Ahli", "Factory", "Pakhtakorlar".
- Written for children or there are a number of folk songs directed at children. "Alla", "Doll", "White desert, blue poplar", "Rain tree", "Purple", "Bogchamiz" and others.
— Stories in Uzbek folk art occupies a special place. The content of epics includes epics about those who lived a hard life in the past, fought against khans and begs, glorified national heroes, defended the homeland, and looked after the interests of the people. These include "Gorogli", "Alpomish", "Shohsanam", "Orzigul", "Shirin and Sugar", "Layli and Majnun", "Farhad and Shirin". Dutor rva dombra takes a special place among musical instruments in making the content of epics even more attractive and polished.
- Songs about oppression among the people there is also These are "Khondan dod", "Khan's tyranny", "Nikalay khan jallad", "Poezdingin ygurizgan", "Ming la'nat" and other folk songs.
The musical heritage of the Uzbek people, which dates back to ancient times, still resonates in our days with folk songs, various genres and rich visual media.
Books
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Jumanazarov "Uzbek people's historical song". Tashkent, 1989.
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E. Solomonova "History of Uzbek music" Tashkent, 1981.
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N. Karelova "Voprosi musical culture of Uzbekistan". Tashkent, 1961.