THE ART OF LYRICAL SINGING IN UZBEKISTAN IN THE LAST YEARS OF THE 20TH CENTURY.

Аннотация

Мазкур мақолада ХХ асрнинг сўнгги йилларида Ўзбекистон худудларида фаолият юритаётган қўшиқчиларнинг фаолияти, мусиқа саньатининг энг оммалашган тури бўлмиш қўшиқ санъатининг ривожланиши ҳақида батафсил маълумот берилган. Калит сўзлар: мусиқа, қўшиқ, ривожланиш, давр, санъат, чолғу, радио, телеведения, жараён, анъана, мақом, қўшиқчилик маҳорати. Аннотация: В данной статье представлена подробная информация о деятельности певцов, работавших на территории Узбекистана в последние годы XX века, развитии самого популярного вида музыки – певческого искусства. Ключевые слова: музыка, песня, развитие, период, искусство, инструмент, радио, телевидение, процесс, традиция, статус, певческое мастерство. At any time, people’s worldview is somewhat different from that of their predecessors and changes. This is a natural and social process that has been repeated for centuries. Over the past period, the Republic of Uzbekistan has adopted a number of normative and legal acts on the development of culture and arts [1]. In particular, the Resolution of the President of the Republic of Uzbekistan No. PD - 3391 of November 17, 2017 “ On measures to further develop the art of the Uzbek national makom”, of May 30, 2019 “ On the organization of the activities of the state museumreserves Sarmishsay”, “Shakhrisabz”, “Termez” and “Kokand” Resolution of the Cabinet of Ministers of the Republic of Uzbekistan No. 443 of April 21 [2] , 2020 “On measures to further increase the efficiency of the fine and applied arts” Resolution No. PD - 4688 of May 26, 2020 “Culture Decree No. PD-6000 of May 23 [3]. This process was clearly visible in Uzbek singing in 1975-2000. Looking at the stages of 154 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference development of Uzbek singing until recently, we can see that a number of singers came to the attention of the country and reached the level of popularity. These are Yunus Rajabi, Komiljon Otaniyozov, Mamurjon Uzokov, Jorakhan Sultanov, Arif Alimakhsumov, Fattokhan Mamadaliev, Fakhriddin Umarov, Tavvakkal Kadirov, Murodjon Akhmedov, Kommuna Ismailova, Berta Davidova other great singers. It is no exaggeration to say that the above-mentioned singers were the luckiest of the hafiz who lived and created until the 1950s. The reason for this was the introduction of radio and television into most Uzbek households in the 1960s. Now the opportunity to directly enjoy the art of singing, which is the most popular form of musical art, has expanded even more in Fans. It is not a secret that at first fans were able to listen to songs only on different stages, in different circles, at weddings or teahouses. [4] The singers also performed on radio and television, became known to the public, and had the opportunity to gain many fans. The establishment of the Mullatuychi Tashmukhammedov record company in Tashkent also contributed to the popularity of singers and gaining fans. Until the 1950s, musical instruments such as tanbur, dutor, and doira were used as the main accompaniments in singing practice, and since the 1970s, gizjak, nay, chang, kashgar rubobi, Afghan rubobi, koshnay, and tor were added to the ranks of these instruments. The famous singer and composer Komiljon Otaniyozov, the captain of Khorezm singing, made the string instrument, which is considered the instrument of the Caucasian peoples, take a permanent place in Uzbek singing. It would be correct to say that all the works composed by this great singer were created on the basis of Khorezm statuses and epics. Komiljon Otaniyozov remained faithful to the traditions of Khorezm singing and enriched it with his unique songs. We know that in the 1950s and 1960s, Petrosyan and other Uzbek instrumentalists reworked many of the musical notes and began to use them in musical ensembles [5]. The famous composer Mukhammadjon Mirzaev created a series of tunes for the reworked kashkar rubobi, which made this instrument popular in Central Asia. His creative collaboration with Mamurjon Uzokov became the basis for Kashgar rubo to become one of the main accompaniments in Uzbek singing. If we take a brief look at Mamurjon Uzokov’s work, we can see that the great traditions of Tashkent-Fergana singing took a leading place in his performance style. It is known that singing in Uzbekistan has always developed in two directions: The first is a masterly professional line in the oral tradition, which includes status chanting, grand chanting, epic singing, or devotional 155 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference singing. These have always been developed over centuries in a master-disciple style. The second direction is the public direction, which includes folk songs, lapar, and songs on household topics created based on the needs of the times. By 1975, a number of young and talented singers entered the art of Uzbek public singing. These are singers such as: Atajon Khudoyshukurov, Artik Atajonov, Sherali Joraev, Kamo