ON THE DEVELOPMENT OF MAQOM ART

Аннотация

This article discusses the development of maqom art and the maqom art and performance styles of the peoples of the East. Keywords: maqom, art, performance, culture, music. О РАЗВИТИИ ИСКУССТВА МАКОМ Аннотация. В статье рассматривается развитие искусства маком, а также стили искусства и исполнения макома у народов Востока. Ключевые слова: маком, искусство, исполнение, культура, музыка. The peoples living in Central Asia, one of the centers of ancient culture, have made a significant contribution to the treasury of world science and culture. They also have a very rich ancient heritage in the field of musical culture. Ancient written sources on the history of the musical culture of the peoples of Central Asia and monuments found by archaeologists serve as evidence of this and confirm that these peoples have been the owners of high culture since ancient times. Under the influence of processes, changes in different eras, and the attitude of the ruling powers to the national culture of the local people, many valuable sources have been lost. For this reason, only written sources on the history of the culture of the peoples of Central Asia over the last thousand years have reached us. In the second half of the 9th century, as a result of the outbreak of the people's struggle for freedom in Transoxiana and Khorasan, fierce resistance and uprisings of the indigenous peoples against the invaders, the rule of the Arab Caliphate was overthrown, and the local Tahirid and then Samanid states were established. During this period, certain conditions were created for the development of culture and art. A number of scholars from Central Asia became world famous for their scientific works in the history of medieval science during the same period [1, 14]. The number and system of maqoms in the classical music of the Near and Middle East were not clearly defined until the 13th century. Safiuddin al-Urmawi developed a scientific classification of maqoms and created the "Twelve Maqom System". This system was used until the 17th century, and on its basis national and local maqom types and styles were formed in different regions. Today, Uzbeks and Tajiks call it "makom", Turkmens and Uyghurs call it "muqom", Iranians and Azerbaijanis call it "dastgoh", Turks call it "makam", and Arabs call it "maqam". 555 ResearchBib IF - 11.01, ISSN: 3030-3753, Valume 2 Issue 1 The art and performance styles of the makom of the Eastern peoples have been enriched over the centuries by the influence of folk, national local traditions. In Uzbek classical music, the Bukhara Shashmaqom, Khorezm makoms, Fergana-Tashkent makom yollari, surnay, dutar makom yollari have been formed and have survived to this day. The makom instrument and singing yollari constitute a significant part of the national musical heritage and have served as a source of inspiration for the creativity of composers. Maqam (Arabic for place, place, position) is one of the main concepts in the music of the Muslim East. Initially, this concept meant a place or fret that was pressed to produce a sound of a certain pitch on a stringed instrument. Over time, in the process of developing the theory of Eastern music, the meaning of the maqam expanded and became a concept that included a certain fret structure, system, form, genre, musical directions and performance styles. The prominent representatives of the classical music theory of the Muslim East, Abu Yusuf al-Kindi, Al-Farabi, Ibn Sina, Ibn Zayla, Safiuddin al-Urmawi, Mahmud al-Shirazi, Abdulkadir Maroghi and other scholars, deeply studied the musical and aesthetic aspects of the maqam and presented their theoretical explanations. Therefore, for now, we will suffice with a brief mention of the information available in musical sources in the 10th-19th centuries. Most of the music treatises comment on the theoretical foundations of the maqams. Initially, one of the great figures who founded the theory of music of the peoples of Central Asia was Abu Nasr Al-Farabi. Al-Farabi. The great philosopher-scientist, one of the founders of the theory of music of the Middle East - Abu Nasr Muhammad Al-Farabi was born in 873 in the city of Al-Farab on the banks of the Syrdarya River and died in 950. He came from the Turkic tribes of Central Asia and received his initial education in his native city. Al-Farabi, who had a decent education, went to the cities of Baghdad, Damascus, and then to Egypt, where he improved his education. "Al-Farabi was also a wonderful musician and music theorist. He played all the musical instruments that existed in his time. He especially skillfully performed melodies on the flute and tanbur. Some sources indicate that Al-Farabi invented the qanun instrument and did a great deal of work to improve the ud, which was popular at that time. [2, 15] The great scholar was one of the leading scholars of his time, creating profound scientific works on philosophy, logic, mathematics, and other sciences. Musicology was considered one