Uzbek national ensembles: traditions and modernity

Аннотация

Uzbek national ensembles represent a unique synthesis of traditional musical heritage and contemporary artistic trends. Rooted in the rich history of Uzbek musical culture, these ensembles embody the essence of folk and classical music, incorporating various instruments, vocal styles, and performance techniques. This article explores the historical evolution of Uzbek national ensembles, their role in preserving cultural identity, and the impact of modernization on their artistic expression. It highlights the ways in which traditional musical elements are adapted to contemporary performance settings, ensuring their relevance in the globalized world. Additionally, the study examines the influence of technological advancements, new educational approaches, and international collaborations on the development of Uzbek national ensembles. The research emphasizes the importance of maintaining the authenticity of traditional music while embracing modern innovations to ensure its sustainability for future generations. Keywords: International music festivals, Musical ensembles, Classical music, Performing arts, Singing and dance ensembles, Dutar players' ensemble, Nay, chang, gijjak, tanbur, Uzbek State Philharmonic, Maqom musicians' ensemble, National and contemporary ensembles, Television and radio company, Folk musical instruments, Masters of art, Culture houses, Uzbek musical heritage. Introduction: The emergence of instrumental various miniatures from as early as the 7th century AD ensembles is closely connected with the rich and provide evidence of the existence of two main types of diverse traditions of Uzbek music. Uzbek musical ensembles: wind and percussion instruments, as well instruments, including the rubab, dutar, tanbur, saz, as plucked string instruments played with a plectrum. nay, doira, gijjak, and other folk instruments, have a Discussions on ensemble-related issues in music have long history. In fact, instrumental music plays a crucial been presented in various ways in the treatises of role in the ancient forms of Uzbek folk music, including scholars and musicologists such as Farabi, Maraghi, maqoms, dastgahs, and various modern songs. Kavkavi, Darvesh Ali Changi, and, in more recent years, Historical sources mention that culture and art in Fitrat. Historical sources provide specific information Central Asia have been highly developed since ancient about certain directions in the art of music based on times. This is clearly reflected in archaeological finds in concrete evidence. Although the concepts of group various regions of our country, where artistic performance and ensemble are not explicitly monuments provide evidence of this rich cultural mentioned, the development of life and performance heritage. Some of these artifacts even depict early traditions, as well as the practice of collective musical examples of ensemble performances, proving that execution, indicate that they were common practices. group music-making existed as early as those times. For instance, in the 17th-century treatise of Darvesh Ali Musical instruments were traditionally made from Changi, it is stated: “Darvesh Ali learned the basics of reeds, bamboo, wood, stone, bone, metal, leather, silk, music from his father, Mirzo Ali Changi. Later, he coconut shells, gourds, and other natural materials. studied the principles of musicianship and ethical, Historical records indicate that Uzbek folk instrumental humanistic virtues from renowned musicians who ensembles performed songs and dances during public preceded him, such as Khujandi Ja‘far Qonuniy, Ali Dust celebrations and cultural events. Cultural monuments, Nayi, Hasan Kavkavi, Hafiz Mahmud, and Hafiz Miraq visual arts, wall paintings, ceramic figurines, and Ibn Majruhi.” American Journal of Applied Science and Technology 18 https://theusajournals.com/index.php/ajast American Journal of Applied Science and Technology (ISSN: 2771-2745) The treatise by Changi also highlights that, during that Festival, and Cotton Festival have long been era, many artisans actively participated in musical accompanied by musical instruments such as karnay, performance practices. Among them were tailor Boqi surnay, doira, and nog‘ora. These festivities also Dirziy, physician Poyanda Tabib, judge Abdulkarim featured popular folk dances, including qosh o‘yini Qozi, astrologer Boqi Shohidiy, Hafiz Qosim Bazzoz, and (eyebrow dance), yelka o‘yini (shoulder dance), and potter Pirmuhammad Kulollar, who were highly skilled bosh o‘yini (head dance). One of the distinctive art in playing musical instruments. This suggests that forms that emerged from these performances was musicians gathering together may have been an early Qarsak O‘yin (Clapping Dance), a unique element of form of ensemble performance. traditional performing arts. The Qarsak O‘yin involved By the 16th and 17th centuries, the cultural rhythmic clapping combined with synchronized development in the regions of Bukhara, Samarkand, movement