Annotation: This article describes the ancient musical culture of Central Asia. Recent discoveries by archaeologists and other historical sources show that the land of Central Asia and Uzbekistan in its center had a very rich and colorful musical art before and several centuries BC. The ancients first invented outdoor instruments that sounded louder than the human voice as a result of their protection and domestic needs, and they were used in hunting, in informing other tribes, in military campaigns, weddings, festivals, celebrations, and so on. used in various other gatherings.
Key words: ancient people, human voice, ancient stone age, trumpet, dutar, tanbur, oud, musical names, Ayritom, Qoshbulamon.
Ashurov Ma’rufjon Abdumutalibovich
Andijan State University (Uzbekistan)
ANCIENT MUSICAL CULTURE OF CENTRAL ASIA.
Annotation: This article describes the ancient musical culture of Central Asia. . Recent discoveries by archaeologists and other historical sources show that the land of Central Asia and Uzbekistan in its center had a very rich and colorful musical art before and several centuries BC. The ancients first invented outdoor instruments that sounded louder than the human voice as a result of their protection and domestic needs, and they were used in hunting, in informing other tribes, in military campaigns, weddings, festivals, celebrations, and so on. used in various other gatherings.
Key words: ancient people, human voice, ancient stone age, trumpet, dutar, tanbur, oud, musical names, Ayritom, Qoshbulamon.
Recent discoveries by archaeologists and other historical sources show that the land of Central Asia and Uzbekistan in its center had a very rich and colorful musical art before and several centuries BC. The monuments of fine arts found in such ancient cities as Tuprakkala, Afrosiab, Ayritom testify to the fact that music was widely introduced into various aspects of social life and gained important artistic and moral significance. Dust (harp), oud, and flute in the hands of skilled performers specializing in their field are the perfect words that have come a long way. The theoretical foundations of music, as well as the symbols associated with the unique philosophical and artistic aesthetic views of each period, are carefully worked out.
The ancients first invented outdoor instruments that sounded louder than the human voice as a result of their protection and domestic needs, and they were used in hunting, in informing other tribes, in military campaigns, weddings, festivals, celebrations, and so on. used in various other gatherings.
Samples of instruments found in ancient Stone Age (Paleolithic) excavations (12-15 thousand years BC) have survived to our time. Most of them were percussion instruments.
The first specialized instruments in the III-I centuries BC were described as two-stringed and multi-stringed harp-like instruments such as flute, tongue and trumpet, dutar and tanbur, barbad and ud.
The fact is that the musical instruments depicted in ancient monuments are not abstract (imaginary) instruments, but most of them are ancient instruments rooted in the earth. Take, for example, a musical tablet depicted on the roof of the Ayritom fortress near Termez, which dates back to the 1st century. It depicts five female musicians playing musical instruments.
The original names of this instrument have not reached us. For this reason, we have to think in terms of the names of the instruments that are common in later times. These instruments are the harp-shaped and oud-like instruments made of two-faced drum reeds (also called dripping organs) in the form of an hourglass, and the tambourine, called "avlos" in ancient Greek. An instrument similar to the Avlos was called a koshbulamon in Khorezm.
An example of an avlos-like instrument in the image of Ayritom was kept in the hands of Khorezmian teachers and was called koshbulomon. Koshbulamon was in the hands of Matyokub Ollayorov, an old teacher (trumpet player) from Khorezm, who gave a part to his student Matrasul Matyokubov. The masterpiece was restored by musicologists Rustam Boltaev and Matrasul Matyokubov. Ravshan Negmatov, an associate professor at the conservatory, is currently working with his students to return the instrument to practice.
We still have the "neighbor" device, which belongs to the category of neighbors. But there is a big difference between a neighbor and a double room.
It is known that it is a paired form of a string that cuts the tongue from the neighboring tubes and emits sound. Koshbulamon is a classic mulberry instrument. Its solitary appearance is called bulamon in Azerbaijan.
However, we do not know whether the twin forms of bulamon are known in other nations.
Many musical instruments of ancient Central Asian culture (nay, ud, doira) have purely local features. The fact that local traditions are connected with Greek, Indian and other folk traditions is also reflected in the words, which means that the culture of that time was unique. Although the influence of Greece on Central Asian music culture can be found in the musical pamphlets of medieval Central Asian scholars, this influence has faded over time.
As a result of the unification and growth of tribes and peoples, the emergence of the first states in Bactria, Sogdiana and Khorezm, the military-administrative unification of the Achaemenids, the emergence of Greco-Bactrian rule under Alexander the Great. This period covers a very large historical period from the 7th century BC to the 4th century AD.
Ancient cultural monuments prove that in the territory of today's Uzbekistan there was a high civilization created by the ancestors of the peoples of Central Asia. Archaeological data, works of fine art, oriental classical literature and folklore are reflected in the epics. New research by orientalists and, finally, consistent information in the musical treatises of medieval Central Asian scholars help us to understand in detail and completely the historical process of development of Uzbek musical culture.
The musical sources inherited from our ancestors are inextricably linked with the work of fraternal peoples (Turkmen, Tajik, Kazakh, Karakalpak and Kyrgyz) living in Central Asia. These periods lasted until the tenth and eleventh centuries, when the territories of ethnic peoples were delimited, and they expressed their unity, and later served as a common basis for the formation of national musical cultures of these peoples.
The period of historical delimitation in the life of the peoples of Central Asia begins around the first millennium BC. These were settled peasants (Sogdians, Bactrians, Khorezmians) and nomadic (Saks, Massagets, etc.) tribes. Information about them can be found in the Avesto. The beginnings of the common art of poetry and music date back to those times. The poetic and musical art of these peoples and nations was originally syncretic. written monuments, testify. According to some scholars, Khorezm is the homeland of the Avesto, the sacred book of the ancient Zoroastrian religion.
The Avesto itself is, in fact, a collection of archons that were spread orally through performance and only later converted into book form. His verses, and especially the hymns, are letters (the letter "t" at the end of the word is pronounced very softly, and in recent times it has become a form "goh": - yakgoh, dugoh, segoh, etc.) is found to be sung with a pleasant sound in the tones that make up the melody system.
The Avesto had the concept of "mysterious hearing" called "sruna". Listening and receiving nourishment through the ears was considered a sacred feeling by Zoroastrians. In Islam, the same feeling is one of the attributes of Allah.
Interestingly, Zoroastrians were accustomed to enjoy not only the beauty of the sounds, but also the sound of fire, and even silence. Music, as an art, begins with literally performing and listening to it. If the musician is the creator of the melody, the listener is the receiver. There is a saying among our people: "A true evaluator of the composer, his teacher and listener". This includes the listener, of course.
The origins of music preserved under the name of Khorezm dutar maqoms go back to ancient times. The Orazibom and Gusfand series, which have been traditionally performed in the past, have been performed to the accompaniment of dancing and singing (around the sacred fire in rituals associated with the worship of the gods). .
There are many such examples in today's life. All of this serves as additional evidence to support our view.
The boom in the Orazi boom can be compared to the ancient word bama. It is used in the Avesto in the form of vama (bama), meaning "bright", "jilvagar", and in Sanskrit (ancient Indian) as vhama. The word is also included in the name of the goddess Bomyak, who is thought to be the leader of the Sun (Mehr) in the Avesto. Based on its present form, the fasting part can be interpreted as "face" in Arabic.
The etymology of the name "Gusfand" is the antiquity of the melody, its original form means "gohispand", meaning "good place", "good place". The word Goh in the dictionary means the throne of kings, time and time, dawn, place, place. This shows that the origin of the melody is connected with the ancient traditions of Khorezm. It is no coincidence that the songs sung by Zoroaster are also called goh // got-lar. The transition of "sometimes spand" to "sheep" is based on phonetic laws, which is not in vain. This is because the word spand, which means "sheep", also means noble and sacred.
The roots of such expressions in our classical music as "Zamzama", "Tarona" (old form "Taronik" - "Taronacha", "Bukhara", "Fergana"), "Suvora" ("Asp ros") It is also possible to admit that it is connected with the traditions of the Avesto period.
The old musical terms mentioned, of course, have been given new meanings and meanings in accordance with the ideology of later times. In any case, these terms are related to the sounds that have come down to us from time immemorial. This is confirmed by archeology, ethnography and other sciences.
The period from ancient times to the IV century AD is characterized by the emergence of musical poetic creativity, which is dominated by epic mythological heroism. Heroic legends and epic songs are full of vivid depictions of the heroic struggles of the peoples of Central Asia for their independence. Excerpts from the legends of Sak, who tells the story of the unparalleled courage and love of the shepherd Shirak, who sacrificed his life for the liberation of his people, have survived to our days.
For example, songs about Rustam and his battles, his love for Princess Takhmina, and the death of his son Sukhrob, who was executed at the hands of an unknown father, have become the social spectacle of separate community ceremonies. These songs were later featured in the Shahnameh. A series of legends about Rustam, Siyavush and other heroes was created.
Folk ceremonies, such as the equinox in the spring, the Navruz holiday, were common. Medieval writers also pointed out the role of music in labor ceremonies and their attempt to connect the structure of the human spiritual world with the myths of extinction and return in nature.
Many of the statues found in Afrosiyab (the site of the ancient city of Samarkand) depict musicians playing flutes, oud, and doira. Numerous statuettes testify to the importance of music in the life of the Sughds and their capital, Samarkand.
So, the roots of our musical heritage are hidden in the depths of ancient history. Summarizing their starting points, however, is always represented by conditional dates. As an example, let's take the issue of marking the first period of reality, which we recognize today as "Uzbek classical music". According to the latest observations of musicologists, its summary can be seen as a phenomenon that developed conditionally in the late seventh century, ie after the emergence of Islam5, and in the first stage of this musical system was conditionally called "Borbad melodies" ("Lahni Borbad"). “Seven curtains” are given common names. However, we do not have written evidence of the system's real name.
At the same time, the latest discoveries of archaeologists show that the "Borbad tunes" were dominated by a great civilization that is contemporary, and even earlier. Scholars have dubbed it the "Great Indian Way" as an alternative to the Great Silk Road. It is acknowledged that the beginning of this path of economic and cultural ties between ancient Indian civilization and the Western world was through the upper reaches of the Amu Darya, Bactria, and the lower reaches through Khorezm.
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