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Shashmaqom. Tashkent — Fergana status — Chormakom. Statuses of Khorezm.
PLAN:
— Origin of Shashmaqom, names of Shashmaqom
— Shashmaqom's musical section, Shashmaqom's singing section
— The emergence of chormakom, the difference between shashmaqom and chormakom
— Statuses of Khorezm, Part Seven of the Status of Khorezm
Shashmaqom emerged as an independent musical genre of the Uzbek-Tajik peoples in the first half of the XNUMXth century. Because there is no mention of Shashmaqom in music sources written before the XNUMXth century. Therefore, it is believed that the series of twelve maqams (cycles) existed until the XNUMXth century, after which the Shashmaqom cycle appeared. One of the ancient centers of culture, Bukhara serves as the central city, embodying musical riches. That is why Shashmaqom is formed in Bukhara. It is called "Bukhara Shashmaqomi".
Shashmaqom is a collection of tunes and songs based on six different scales, adapted to different curtains.
Shashmaqom includes: Buzrug, Rost, Navo, Dugoh, Segoh and Iraq. Each of the six maqams is a very large series of works, each containing between twenty and forty-two major and minor maqam tracks. But when the maqams are added together with popular musical instruments, songs and trumpets, they make up a very large number. There are up to 250 books currently published. The fact that Shashmaqom had a constant relationship with folk art and that it continuously enriched and developed on the basis of it is reflected in musical and historical sources. Court artists were famous artists who grew up among the people. For example: Darvesh Ali Changi, a music theorist from Bukhara, was a talented musician who grew up among the people. But these artists, in turn, were limited to the palace with the musical works performed in the palace.
Professional music was enriched only by the art of folk music. It should also be said that sometimes they performed the maqams using religious poems as well. However, these statuses have not lost their original lyrical character. Maqom is embodied in musical instruments and tracks with the intonation system, melodic structure, and rhythmic basis (methods) characteristic of Uzbek and Tajik music. The status of each fret in musical instruments is one of the factors that determine its character.
The 1st-4th volumes of Uzbek folk music are dedicated to Bukhara status and the 5th volume is dedicated to Khorezm status.
Among the musical instruments, tambur and circle are the leading sounds in the performance of maqam. Tanbur had 3 strings (setor) and 4 strings (chot tor). The tanbur instrument consists of two Greek words, "Tan" - heart, and "Bur" - scratcher, tickler, meaning scratcher of hearts.
In Shashmaqam, the tanbur is tuned differently in the "Buzrug", "Dugoh", "Segoh", "Iraq" positions, and in the "Right" position, the whole fret (major second) is adjusted.
The singing (vocal) part of the maqam is called "Prose".
The instrumental (instrumental) part of the status is called "Problem".
The "Upfar" part of the maqam is related to the dance and is performed by a single singer or several singers.
The musical section of Shashmaqom is called Mushkulot.
If the maqams are performed in full and as a whole, first their instrumental tracks are transferred to the branches of the singing section. Each of the branches in the instrument section is considered an independent instrument section and is joined by the name of the statuses that belong to them. For example: "Tasnif", "Tarji", "Gardun", "Muhammas", "Saqil", "Tasnifi buzurg", "Tarji rost", "Saqili Navo", "Samoi dogoh", "Muhammasi Iraq", "Garduni Segoh" ” and so on.
Instrumental tracks of every status can evoke happy, sad or brave moods.
The song section of Shashmaqam is called Nasr. After the instrumental section of each maqam included in the shashmaqom system is performed, it is transferred to its singing section. There are several doubts as mentioned in the hymn section of the maqam. In the singing section of the maqams, the first part of the series of shubahs, interpretations, prose and their upfars are performed. Sarakhbor, interpretation, prose have their own songs.
The group of shubas included in the second part of the Ashula section includes saft, Mughal, and some chants that are unique to different statuses. The second part of the shubas are performed one after the other in the form of shahabkas called talincha, kashkarcha, sokinama and upfar. "Sarakhbor"-Sar-in the context of the beginning of the Mughal language, are parts of the songs of Navo statuses.
Due to the fact that urban singing trends are more developed in the traditions of folk music of Ferghana, they are simple, homely and quickly accessible musical treasures. If Shashmaqom is accepted as Uzbek-Tajik folk music, Fergana-Tashkent folk music tracks belong to the category of purely local Uzbek musical traditions. Chormaqom series cannot be separated from Shashmaqom, it can be separated only by name. For example: Chorgoh I-II, etc. Dugoh-Husayn, Chorgoh-Bayot, Gulyor-Shakhnozlar are included in the musical heritage of Fergana - Tashkent.
Sarakhbor, Talqin, Nasr, Uffar are performed in Bukhara Shoshmaqomi, Chorgoh I or Bayot I, II, III, IV, V, etc. in the direction of Fergana - Tashkent. In conclusion, it should be noted that maqams are based on folk music traditions and consist of folk songs with rich structures, methods, and melodies.
To separate statuses from folk art means to lose their value.
Maqomlar is a wonderful monument of Uzbek folk music culture, and the demand, need and interest in this musical heritage is increasing day by day.
Statuses of Khorezm
Khorezm status is close to Bukhara status by its structure. Famous artist Niyozjon Khoji brought Khorezm statuses to Bukhara to Khiva and local artists of Khorezm made some changes to them. The difference between the Khorezm maqams from Shashmaqam is that the seventh instrument part was added to it and it was named Panjgoh.
The part of Khorezm's maqams was sung under other names, that is, the first instrumental part was known as manzum.
The names of Khorezm performers were included in the Khorezm statuses of Panjgoh in some parts of the early XNUMXth century. For example: Peshravi - Zanjiri, Soqili - Feruz, Soqili - Sultan, etc.
Books.
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Yu. Rajabi. "A look at our musical heritage" Tashkent 1978.
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I. Rajabi. "Basics of status" Tashkent 1969.
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T. Ye. Solomonova. "History of Uzbek music". Tashkent "Teacher", 1981.