HISTORY AND STAGES OF DEVELOPMENT OF UZBEKISTAN MUSICAL ART AND MUSICAL DRAMA

Аннотация

mathematical language. The subtle qualities of creativity, in particular, the juxtaposition characteristic of the melodies and songs of the El - elats, koladi in tashari from thekupinchatheoretical Karash. Uzbek national musical art has gone a long historical path. In particular, in the late XIX -early XX centuries, thescope was wide, depending ontheways of performance, forms, complexity, traditional musical art was divided into professional musical works (status, large singing, epic) and folk songs (lapar, yalla, song, singing). At the beginning of the 20th century, the art of Uzbek music was approached with special attention. In the early years of the XX century, the political and social and cultural environment in Uzbekistan itself is characterized by the conditions of renewal. Of particular importance in Central Asia is the jadidism movement, the great manifestations and their creative activity. In this, the arrival of European-style national theatres in the building also took its toll. Of particular importance in this are the creative activities of such exponents as Makhmuduja Behbudiy, Sadriddin Ayniy, Abdurauf Fitrat, tavalla, Abdullah Avlani, Hamza Hakimzadeh Niyazi and Abdullah Shakuri. From this it can be seen that during this period, the activities of musical art figures of the Uzbek people developed in two directions. The samples of classical music are mainly created page234 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue05,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai by mature hofiz, musicians and composers, and due to the complexity of its genres and performance traditions, the art of statecraft and epic performing styles, schools are distinguished. Uzbek folk classical music has a special place among other peoples in its excellence and complexity. The largest east of classical music is statuses. The maqams existed in three oases of Uzbekistan and were referred to as “Shashmaqom" in Bukhara, "Khwarezm maqams" in Khwarezm, "Farghana - Tashkent Maqam roads" in the Ferghana Valley. In addition, on the roads of the maqams, the circle of shaklan and Rovi characteri is characteristic of the maqams, there are “Suvoras, great chants, Sumay Maqam roads, Dutor maqamas, as well as instrumental paths. Statuses occupy a very important place in the musical heritage of Eastern peoples as one of thegenres ofmusicthat existed from very ancient times. In his time, the palace oftheEmirof Bukhara was viewed with great interest in statuses. Amir Said Olimkhan held a high regard for Maqam music, being himself a prodigy in playing dutor. According to tradition, talented children were selected from among folk musicians in the emirate and put into the hands of experienced musicians. For example, the fact that the famous masters of status of Bukhara were educated at the hands of court musicians such as Master Shadi Azizov, Bobokul Fayzullayev, Shonazar Sokhibov is evidence of our opinion. Certain variants of classical music also arose in Tashkent and the Fergana Valley. The route was mostly made up of large singing trails. Ashurali Hofiz, Mirza Kosim Hofiz, Mominjon Hofiz, Muydin Haji, Berkinboy Fayziyev, Mulla Toychi Toshmukhammedov, Ganijan Mirzayev, Zhurakhan Sultanov, Mazharzhan Farzov, Turgun Karimov were skilled performers in this direction. Local performing schools were also formed in the Fergana Valley, among which performing schools such as Kokand, Margilan, Beshariq in particular were very popularin theirtime. In the late 19th - early 20th centuries, the Khorezm Oasis was much more famous in Uzbek musical art for its performing and singing traditions. In Oasis, Maqam performance developed within the epic paths, folk Mass songs their own directions. During this period, famous composers such as Kamil Khwarazmi, Muhammad Ravikhan Feruz, Niyazikhan Khoja were created in Khwarazm. At the beginning of the 20th century, amateur jadidlaming movements and national theaters were formed in almost all cities of Turkestan. During the period 1911-1917, about 20 plays were written. K."Wedding" of nusratillayev, "unfortunate groom" of Abdullah Qadiri, "old and New School" of Khoja Muin, A.Baudry's" foolish " Presas were created during this period. Well, in the late 19th and early 20th centuries, the Turkestan, Bukhara emirate and Khiva Khanate experienced significant changes and updates intheart ofmusic. European music connoisseurs focused on studying and notating classical music and folk oral samples in theemirate of Bukhara andKhiva Khanate, collecting folk musical instruments.In the cities of Turkestan, musical societies were formed and amateurs were involved. Such cases as the study of Uzbek folk songs by Russian musical connoisseurs, their notations, their publication in the Foreign Press made a worthy contribution to the development of musical art in its time. At the moment, the implementation of the necessary measu