The historical development of percussion instruments in central Asia

Аннотация

This article analyzes the history, development, and cultural significance of percussion instruments in Central Asia, with a particular focus on the doyra. It highlights the long history of the doyra based on ancient depictions and archaeological findings. Additionally, the article provides information about doyra performance techniques and the various names by which it is known across different cultures. The important role of the doyra in musical traditions, especially in the maqom art, is also explored. Special performance styles developed in regions such as Khorezm, Bukhara, and Fergana are examined. The article further demonstrates how the doyra has been historically significant not only in musical performances but also in religious and ceremonial events, as evidenced by historical documents and visual art representations. Keywords: Central Asia, percussion instruments, doyra, music, maqom, history, culture. Introduction: The musical culture of Central Asian Archaeological excavations at Saylamtash, dating back peoples dates back to ancient times. One of the to the second millennium BCE, have uncovered distinctive features of the musical traditions of Central depictions of doyra-like instruments being played, Asia and some Eastern nations is the development of indicating the ancient origins of this instrument. While both widespread folk songs and instrumental melodies modern doyra designs have undergone some alongside the oral, masterful style of classical music. modifications compared to historical depictions, their Various scholars and philosophers, including the essential structure remains consistent. Ancient doyra famous thinker and polymath Abu Nasr al-Farabi, have instruments often featured metal plates embedded addressed issues related to the science and practice of into their wooden frame, while modern versions music. His monumental work, Kitab al-Musiqi al-Kabir include small metal rings attached to the inner frame (The Great Book of Music), became a foundational text instead. The stretched membrane has also expanded in for later generations of scholars, influencing figures size over time. Illustrations from the 15th and 16th such as Abu Ali Ibn Sina, Abdurahman Jami, Najmuddin centuries depict doyra instruments with decorative Kavkabi, Zayn al-Abidin Husayni, Safi al-Din al-Urmawi, perforations and jingles. and Darvish Ali Changgi. One of the oldest depictions of the doyra in Central Asia Historical records indicate that percussion instruments can be found on the walls of the ancient Nisa fortress, have long played a significant role in the musical showing that the instrument’s early design closely traditions of Central Asian peoples, particularly the resembles its modern form. Uzbek nation. Instruments such as the oud, tanbur, The doyra is classified as a percussion instrument and nay, chang, rubab, qobiz, ghijjak, setar, surnay, is known by various names across different cultures: it bolaman, nogora, and doyra have been widely used is called doyra, chirmanda, childirma, and dap in Uzbek over the centuries. and Tajik musical traditions; dapp in Armenian; daff in The doyra, in particular, holds an irreplaceable role in Persian and Egyptian music; def, doyre, and ghaval in maintaining rhythmic structures in music. Due to its Azerbaijani traditions; and dabu in other parts of the ease of use and expressive capabilities, it has become a East. The variations in the instrument’s size, widely popular instrument among the people. construction, playing style, and sound projection American Journal of Applied Science and Technology 8 https://theusajournals.com/index.php/ajast American Journal of Applied Science and Technology (ISSN: 2771-2745) contribute to its diverse forms across regions. Asia. Copenhagen: Curzon Press. Archaeological findings suggest that, before the Islamic era, doyra was primarily played by women, who would accompany their own singing and dancing. This tradition has continued to evolve over centuries. Even today, the doyra remains an essential instrument in female musical performances in Samarkand, Fergana, Bukhara, Namangan, and other regions of Uzbekistan. The doyra has also long been integral to vocal and instrumental ensembles. It plays a crucial role in performing maqom—one of the masterpieces of Uzbek classical music. It is almost impossible to imagine maqom performances without the accompaniment of a doyra. Over time, regional variations in doyra performance have developed across Central Asia, giving rise to distinct local styles. For example, the Khorezm doyra school differs significantly from other Uzbek styles in terms of technique and rhythm. In Khorezm, both large and small versions of the doyra are used primarily for accompaniment. Historical records indicate that doyra was frequently used alongside other percussion instruments such as bells and cymbals in religious and ritual ceremonies conducted by priests. The depictions on the walls of the Nisa fortress suggest that