THE ART AND BASICS OF MAQOM

Аннотация

This article discusses the general basics of maqom and the ways of maqom and the independent appearance of melodies and songs in the maqom style. Keywords: maqom, melody and song, art, music, culture. ИСКУССТВО И ОСНОВЫ МАКОМА Аннотация. В данной статье рассматриваются общие основы макома и способы макома и самостоятельного появления мелодий и песен в стиле макома. Ключевые слова: маком, мелодия и песня, искусство, музыка, культура. General basics of maqoms Shashmaqom - As we know from history, after the Mongol invasion, with the establishment of the Sultanate of Amir Temur, Samarkand became an administrative center, and Bukhara began to serve as a support for spiritual and political life. Then, in connection with the collapse of the Timurid empire, the Shayboni (16th century), Ashtarkhan (17th century) and Mangid khans (18th century) were established in its main core, with the capital Bukhara and the second largest city Samarkand. The chronicle of the Bukhara Khanate (emirate) begins with the emergence of the Shayboni dynasty, which originated from the Uzbek clan, on the historical stage in the 16th century and the establishment of this great city as its capital. At the beginning of the 16th century (1505), Herat was occupied by the Shayboni. The Timurid empire split into three large parts: the states of Transoxiana, Iran and North India (Baburs). During such a complex turn of history, Bukhara emerged as a worthy successor to the Timurid era, in particular, the cultural traditions of Samarkand and Herat. The prominent scholars, enlighteners, writers and artists of their time began to seek this great city, which became the capital of the Uzbek khans Shayboni state, and in it, in new historical conditions, a style of poetry, music and fine arts called the "Bukhara School" developed. Among the intellectuals and artists who migrated from Herat to Bukhara was the great scholar and musician Najmiddin Kavkabiy. A. Fitrat equates Kavkabiy's place in the cultural life of the Uzbek khanates with the importance of Abdulkadir Marogiy during the Timurid era. Kavkabi served in the court of Ubaydullah Khan. Ubaydullah Khan, like Husayn Boykar, appeared as a patron of literature and fine arts, and at the same time a connoisseur of poetry and 1 90 International scientific journal ISSN: 2181-3906 «MODERN SCIENCE АND RESEARCH» 2025 VOLUME 4 / ISSUE 1 / UIF:8.2 / MODERNSCIENCE.UZ music, and honored Kavkabi as the beauty of his court. When the master artist came to Mashhad in 1529 for a visit, he was executed by the Iranian Shah Tahmasp in revenge for the poet Hilali's blood. This terrible event is described in the work "Muzakkiri aqbob" by the historian of this period Hasankhozha Nisari and other sources. Kavkabi is the author of several musical treatises. Among those that have survived to us, we can mention the works "Musical Treatise", the first of which is written in prose, the second in verse, and "On the Twelve Maqoms". In general, his works constitute a separate period in the development of musicology. Many musicologists who worked in Transoxiana, Iran, and India in later times considered themselves to be followers of the Kavkabi school. Among Kavkabi's students and followers, his nephew Darvesh Ali Changi holds a special place. In his youth, Darvesh Ali served at the court of Abdullah Khan, and in his old age at the court of Imam Quli Khan. and wrote independent treatises dedicated to each of them. Like his teacher Kavkabi, he gained fame as a poet, musician, hafiz, and scholar who mastered various fields of knowledge. According to his position, Darvesh Ali can be called one of the last representatives of the line of outstanding musicologists of the Islamic East. One of the scholar's largest works on the subject, "Risola-yi musiqiy" ("Treatise on Music"), not only covers the traditional issues of this science related to the pitch and technique, but also includes descriptive information about the lives and work of musicians. From this point of view, "Risola-i muziqiy" is a treatise of theoretical and historical importance. Despite the fact that the books of Kavkabiy and Darvesh Ali were written in Bukhara and were directly addressed to the rulers of this state, it should be borne in mind that they are essentially scientific works of regional, rather than local, importance. In other words, these sources are not aimed at studying the local features of Bukhara music. They contain issues devoted to the theoretical foundations of maqamat as a universal classical music. The last years of Darvesh Ali's life were spent in a helpless and difficult situation. Such an attitude towards the scholar indicates a decrease in attention to the fine arts. Indeed, as a result of the growing religious prejudices from the middle of the 17th century, the need for secular arts, in particular music, began to weaken significantly. For this reason, there is historical information that a large group of Bukhara intellectuals and artists were forced