The Formation of Musical Practice in The Differentiation of Archaic Culture Yuldashev Izzat Ikramovich

Аннотация

This article substantiates the influence of differentiation within archaic syncretism on the formation of musical practice, the genesis of the earliest musical instruments, and the manifestation of mythological and cosmological views, as well as the collective-semantic communicative unity of early human communities. Keywords: Archaic culture, music, instrument, syncretism. such mimicry evolved into the expression of musical Introduction: The emergence of archaic culture and art sounds. Through gestures, symbols, and actions, was closely connected with the daily life of primitive people conveyed many phenomena and events tribes, their adaptation to geographical and climatic [17:103]. conditions, and their nomadic lifestyle. It is important to note that early humans could not distinguish Symbols were the foundation of communal- between nature and existence from mythological communicative structures for ancient people. The thinking and communal-sacral beliefs. Elements of integration of musical and natural sounds into archaic art used in hunting and rituals were inherently collective and individual consciousness led to the part of this holistic worldview. Observance of taboos indistinguishability of symbols and reality. People tried and the use of artistic elements were also interlinked. to understand natural events through harmonized Early humans viewed objects used in daily life as collective needs and relationships. M. Nurmatova necessities, and even basic clapping and sound notes: “The harmony of natural phenomena and production were associated with cult-like reverence processes is the first link in the genesis of aesthetic toward phenomena. harmony. The earliest drawings and songs created by ancient humans were products of this harmony” It should be emphasized that the structural-functional [3:104]. evolution of primitive-mythological thinking led to the gradual differentiation of archaic artistic syncretism. It is particularly noteworthy that the symbolic For archaic people, sound-producing objects used in expression of natural elements through early string rituals and hunting served simultaneously as instruments played by plucking or strumming has been communicative signals and cult symbols. Primitive viewed as evidence of a transition from one cultural dances, synchronized with sounds and rhythms, stage to another. reflected the process of hunting. According to academic sources, archaic musical METHODS practices included signals, communicative tones, and magical melodies [10:70; 11:368]. Musicologists have According to D. Lukach, early dance was a mimetic emphasized the structural features and leaps of representation within the syncretic activity of primitive intervals such as the fourth (IV) and fifth (V) in folk humans, depicting warfare, hunting, and other actions tunes [12:15-16; 13:109; 14:144-146]. Art historian [1:16]. Using plastic and visual elements, people Prof. O. Ibrohimov emphasized that signal tones portrayed animal behavior, battle scenes, and hunting typically occurred within fourth and fifth intervals sequences in an integrated form [2:152]. Over time, American Journal Of Social Sciences And Humanity Research 72 https://theusajournals.com/index.php/ajsshr American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141) [15:74-76]. This suggests that people used musical blood on drums during ceremonies like “Sust woman” leaps (fourths and fifths) to reflect cosmogenic and or “Rain invocation,” noting that “In primitive cosmological views. consciousness, the semantics of blood symbolizes the flow of time and cosmic movement” [5:19]. Interestingly, when measuring the tonal structure of ancient Eastern string instruments like the dutar and According to I. Jabborov, fire and sun symbols were rubab from their middle points to the upper and lower reflected in Khorezmian rituals and musical expressions registers, the fourth and fifth intervals correspond to using words like “jaxuv-jaxuv,” “jaqqu,” “ohay,” natural resonance and accurately perceived tones— “ohayyo,” and “hey” [6:272-273]. further indicating a deliberate cosmological M. Jo‘rayev and J. Eshonqulov suggested that the arrangement. circular form in the “clap dance” may symbolize the RESULTS sun, and that expressions like “hu,” “xu,” “qu,” or “ku” may be etymologically linked to “kun” (sun) [7:167]. Researchers G. Bongard-Levin and E. Grantovsky highlighted that ritual instruments like the childirma, Professor Abdurauf Fitrat noted in his book Uzbek zagoma, and daf bore symbolic markings related to Classical Music and Its History that ancient melodies shamanic practices [16:158]. were referred to as “kug” [8:37]. Ancient Turkic shamans (bakhshis) used string and J. Eshonqulov observed that the Turkic “ku” and “kuy” percussion instruments—similar to the dutar and other (melody, sound) were equivalent to the Sumerian “gu” instruments—to express cosmic concepts through [9:150-154]. musical sequences. Modern morphological anal