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Audio Collection from the Archive of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan Melodies from Uzbekistan UZBEK FOLK MUSICAL HERITAGE 01

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Melodies from Uzbekistan CONTENTS FOREWORD 10 PRODUCED BY Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan IN COLLABORATION WITH National Commission of the Republic of Uzbekistan for UNESCO sponsored BY International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) PROJECT IMPLEMENTATION TEAM Dr. Shakirdjan Pidaev, head of the project Dr. Zulfiya Muradova, coordinator of the project Dr. Okilxon Ibragimov, compiler of commentaries Kalmurza Kurbanov, scientific expert Aleksey Khmirov, technical expert Nikolay Goltsov, technical support Akbar Sultanov, translator and designer Timur Muradov, volunteer sound producer PROJECT MANAGEMENT TEAM Kwon Huh, head of the project Dr. Seong-Yong Park, coordinator of the project Weonmo Park Milee Choi Yeonsil Park Boyeon Lee Korean Translator Eunkyung Oh Sound Editor Sangil Choi Designer Design Nanoom Wangjong Song PART I. UZBEK FOLK MUSICAL HERITAGE 12 1. Uzbek Song 13 Heritage 2. Uzbek National Musical 17 Instruments 3. Maqom 23 Art 4. Traditions of 27 Uzbek Doston Art PART II. CONTENTS OF CDS WITH DETAILED 30 DESCRIPTIONS Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan Prepared within the Framework of Uzbekistan-ICHCAP Joint Cooperation Project On Safeguarding Intangible Cultural Heritage by Restoring and Digitizing ICH-Related Analogue Data 04 05

CD 1. Uzbek Song Heritage CD 2. Uzbek Instrumental Music 01. Mayda (Grind it) 01:16 folk labor-related song 02. Yarghuchoq (Handmill) 00:35 folk labor-related song 03. Chiray-chiray 00:56 folk labor-related song 04. Khosh-khosh 00:53 folk labor-related song 05. Boychechak (Snowdrop) 00:26 children s calendar-related ceremonial song 06. Yor-yor 01:57 family-related ceremonial song 07. Kelin salom (Bow of a bride) 01:06 family-related ceremonial song 08. Khush keldingiz (You are welcome) 03:17 family-related ceremonial song 09. Alla (Lullaby) 01:20 folk song 10. Yor muncha zor etding mani 01:44 (You make me miss you, darling) folk terma 11. Ikki bulbul sayrasa 01:46 (When two nightingales warble) folk song 12. Ayting ortoq (Sing your answer) 03:05 folk lapar 13. Hovajon (Yes, my darling) 02:26 lapar of khalfas 14. Uchqars (Three handclaps) 02:45 qarsak 15. Yalli 02:22 yalla 16. Tanavor - Qora sochim 02:45 (Tanavor - My black hair) folk song 17. Sanamo (Beauty) 03:50 folk song 18. Savti Suvora 05:40 classical ashula, poem by Mashrab 19. Qayu qullik jahonga kelsa 04:21 (After enlightened servant of God comes to world) katta ashula, poem by Haziniy 01. Qoshtar (Dichord) 03:55 02. Qoylarni yetaklash (Leading sheep) 01:20 03. Yalang davron (Happy days) 04:14 04. Mavricha Yakkazarbi. Sarxona 03:38 05. Jonon (Honey) 02:55 06. Yolghiz (Alone) 03:17 07. Sato nolasi (Weeping of Sato) 03:46 08. Farghonacha (Ferghana s) 02:48 09. Chuponcha (Shepherd s) 02:30 10. Sibiziq kuy (Sibiziq melody) 01:44 11. Panis Chorgoh 06:02 12. Sarbozcha (Soldier s) 01:41 13. Mukhandas 02:27 14. Dorbozlar mashqi: 1. Duchava; 2. Charkh 01:55 (Dorbozs exercise: 1. Duchava; 2. Charkh) 15. Karnay-noghora usullari 04:49 (Usuls of Karnay and noghora) 16. Suyak changqobuz kuyi 01:58 (Melody of bone Changqobuz) 17. Sodda Shodiyona (Simple Shodiyona) 03:23 18. Zang usullari (Usuls of zang) 02:52 19. Sarboz (Soldier) 02:02 20. Sarparda 05:24 06 07

CD 3. Bukhara Shashmaqom CD 4. Khoresm Maqoms CD 6. Dostons from Surkhandarya and Kashkadarya 01. Muhammasi Mirzo Hakim 06:37 Mushkilot part of maqom Segoh 02. Tasnifi Iroq 06:14 Mushkilot part of maqom Iroq 03. Saqili Kalon 14:35 Mushkilot part of maqom Iroq 04. Qashqarchai Mustahzodi Navo 04:47 From maqom of Navo. Poem by Nozim Song cycle of maqom of Rost 01. Tani maqom 09:03 poem by Navoiy 02. Taronai Rost 02:16 folk poem 03. Suvorai Rost 07:10 poem by Ogahiy 04. Ufari Rost 04:45 poem by Navoiy Instrumental cycle of Khoresm maqoms 05. Saqili Navo 05:43 06. Peshravi Dugoh 06:18 Melodies from Ravshan doston 01. Avazni otasiga qarab aytgan suzi 01:37 (The words told bya vaz to his father) 02. Goroghlining Avazga javobi 01:48 (The answer by Gorogli to Avaz) 03. Ravshanning ot sozlashi 04:37 (Ravshan halters up a horse) 04. Zindonda Ravshan bilan Zulkhumorning aytishgani 07:30 (Conversation between Ravshan and Zulkhumor in dungeon) 05. Zulkhumorning maynaga elanib aytgan suzi 01:52 (Pleading words told to starling by Zulkhumor) From Avaz doston 06. Fragments from Avaz doston 44:10 CD 5. Ferghana-Tashkent Maqom CD 7. Dostons from Khoresm CD 8. Dostons from Karakalpakstan 01. Gulyor-Shahnoz I-V 07:57 02. Navrozi Ajam, Ajam va taronalari 17:46 03. Yovvoyi Chorgoh 07:00 01. Fragment from Hurliqo-Hamro doston 43:05 02. Fragment from Bozirgon doston 32:45 Melodies from Alpamys doston 01. Ulli ziban 03:57 02. Ilghal 03:50 03. Qanigul 03:56 04. Gulparshin 05:19 05. Koz aydin 04:31 06. Aygha shap 04:21 07. Yerman tolgau 03:24 08. Posqan yel 03:23 From Gharip Ashiq doston 09. Fragment from Gharip Ashiq doston 17:31 08 09

FOREWORD Established in 1928, the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan is considered to be one of the largest in Central Asia. One of the goals it actively works towards is recording, preserving, and promoting the musical heritage of Uzbekistan. The Institute keeps an archive of audio recordings. Dr. Fayzulla Karomatli (Karomatov) played a special role in the creation of this archive, which contains recordings of Uzbek musical folklore and traditional classical music. The samples were collected during various ethnomusicological expeditions carried out from 1950 to 1980 to all regions of Uzbekistan as well as cross-border regions of Tajikistan, Kyrgyzstan, Turkmenistan, and Kazakhstan where Uzbek diaspora can be found. The archive includes a rich collection of studio recordings created at the Fine Arts Institute from the 1930s to the 1970s. This work serves the purposes and tasks indicated in the State Programme on safeguarding and studying the intangible heritage of Uzbekistan. It carries important social and cultural value, not only at the national, but also at the international level, by acquainting a broad public with the peculiarities of Uzbek traditional culture and helping relevant specialists in further research of this artistic phenomenon. This archive is thus a unique compilation of traditional music that reflects the style and genre diversity of the national musical culture of the Uzbek people. As a result of the successful implementation of an Uzbekistan- ICHCAP joint cooperation project titled On Safeguarding Intangible Cultural Heritage by Restoring and Digitizing ICH-Related Analogue Data in 2015, the materials of the archive of Fine Arts Institute were digitized. Thanks to the efforts of the project participants (head Dr. Shakirdjan Pidaev), financial support from the International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP, Republic of Korea), and assistance from the National Commission of Uzbekistan for UNESCO (Secretary General Alisher Ikramov), the archival audio recordings of the Fine Arts Institute were converted into new, contemporary formats. A selection of representative examples were chosen to put on CDs, which can be used for educational and promotional purposes. 010 011

Part I. Uzbek Folk Musical Heritage 1. Uzbek Song Heritage The rich musical heritage of the Uzbek people is represented by two main layers: (1) Oral folk music (or musical folklore), and (2) traditional professional music. Each of these layers has its own peculiar genre and performance style. Diverse instrumental melodies and songs (such as songs related to labor, ceremonies, or seasons, terma, qushiq, lapar, yalla, ashula, etc.) emerged from oral folk music. These folk melodies and songs are considered suitable for performance by the general public and easily understandable by ordinary people. They are thus usually performed during daily life events and special occasions, such as ceremonies, festivities, and other customs. Folk songs are often expressed using poetry based on the barmoq meter (folk syllabic versification system). Labor-related songs. Laborrelated songs, which represent one of the most ancient examples of Uzbek oral folk tradition, were performed in connection with various activities of the population. In particular, a number of agricultural songs emerged. For example, the song Qosh haydash was performed while plowing, the song Orimqoshigi while harvesting, the song Mayda-yo, mayda while grinding wheat, the song Yorghuchoq while grinding grain with a hand mill. These types of songs were generally sung in a recitative manner and were based on poetical quatrains associated with the work being carried out. The songs associated with domestic crafts, such as spinning thread with a spinning wheel, carpet weaving, and skullcap embroidery, are usually performed by women. While doing these tasks, women unconsciously begin to reveal the emotional experiences and feelings related to their personal Melodies and tunes often span a small range (from a fourth to a sixth), and use simple forms, such as the couplet and bandnaqarot ( refrain ) form used by bands. Genres of professional music, which emerged as a result of creative activity in bastakorlik (music composed in a traditional manner), include the magnificent examples of katta ashula, suvora, ashula, kuy, maqom, and doston. These differ from oral folk music by their relatively developed melodies, songs with wide ranges, and complex forms and structures. In order to proficiently perform musical compositions in these genres, sozandas (professional instrumentalists) and khonandas (professional singers) had to develop the required skills by participating in a ustoz-shogird ( masterapprentice ) traditional school of mastery. This type of school was specialized in fostering advanced performance skills for each of these genres. The archive of audio recordings of Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan has some precious examples of the aforementioned two layers of Uzbek musical heritage, recorded on magnetic tapes. Some of these are found in 8 CDs. lives. Therefore, in such songs, lyrical melodies, such as dil yozdi ( pouring out one s soul ), are commonly found. Cattle-breeding songs. Included in these songs are milking songs, which are titled according to the words that are repeated in their refrains. For example, a song for milking sheep is called Chureychurey (or Chiray-chiray ), and a song for milking cattle is called Khosh-khosh. These words were chosen for being particularly suitable for calming or pampering a domestic animal and getting more milk from it. Calendar-related ceremonial songs. These are performed during the various ceremonies and customs that the Uzbek people have developed throughout their long history. These events express various worldviews, attitudes, wishes, desires, and the spiritual world of the people in general. The majority of calendar-related ceremonial songs are associated with the beautiful spring season and its most important day--the day of Navruz festivities. Examples of calendar and ceremony-related songs are Boychechak ( Snowdrop ), Binafsha ( Violet ), Laylak Keldi ( The Arrival of a Stork ), Qaldirghoch ( Swallow ), Chittigul, Shokh Moylar ( Daubing the Horns of a Bullock ), and Arghamchi. The boychechak ( snowdrop ) flower. This flower was considered a harbinger of the 012 013

1. 1. Navruz festivities because of its appearance. In early spring, young people plucked boychechak flowers from hillsides and mountains and went from house to house singing Boychechak, thus announcing the beginning of the festivities. This festive mood is reflected in the song s melody with its wide leaps and extensive use of the fourth. Family-related ceremonial songs. Uzbek people celebrate in a particular way important days and events in one s life by observing certain customs, traditions, and ceremonies. Such ceremonies include beshik tuy (ceremony for newborns), muchal tuy (festivities associated with a twelve-year calendar cycle), khatna (sunnat) tuy (circumcision ceremony), nikoh tuy (wedding ceremony), motam marosimi (mourning ceremony). Music plays an important role in family-related ceremonies. In particular, during nikoh tuy, such songs as Tuy muborak ( Congratulations on the Occasion of Wedding ), Yoryor, and Kelin Salom ( Bow of the Bride ) are traditionally performed. Yor-yor is sung by women when a bride is seen off to the groom s house. This song is performed during the farewell of a bride to her family members. The song s melodies are reminiscent of weeping, and the song is sorrowful to some extent. At the same time, the accompaniment of doira usuls (rhythmic formulae), adds solemnity, and feelings of In the majority of cases, the melodies are in the fifth or sixth and are sung solo (sometimes accompanied by doira). Qarsak ( hand clap ) is a cyclic genre that represents a harmonious combination of words, melodies, and dances. Qarsak songs, which are performed by men at various events and circles are in the form of band-naqarot (coupletrefrain). Band (couplet) parts are performed by yakkakhon or aytimchi (as a solo singer), while naqarot (refrain) parts are sung by all of the other people, sitting in a circle. The singing is accompanied by qarsak (hand-clappping) usuls (rhythmic formulae). The names of the cycles correspond to the types of hand-clapping applied (for instance, Mayda Qars ( Small Clap ), Yakqars ( Single Clap ), Qoshqars ( Double Clap ), Uchqars ( Triple Clap ), Beshqars ( Quintuple Clap ), and so on). Lapar is a song about love, a joke, or other theme, that is performed by a young boy and girl (or by several people, who are split into two different sides) in the form of a question-answer session. Lapar singers, following the general structure of the melody, sing quatrains one after another in sequence. Sometimes, lapar songs employ joyful dancing doira usuls. In such cases, the performers dance one by one and sing the lapar. Some local variances have lapar of Khoresm, which is perfomed by a single performer, usually a khalfas joy and happiness. Kelin salom ( Bow of a bride ) is a type of traditional song performed at a wedding ceremony, when the bride enters the house of the groom. The song is used to greet the parents, relatives, and neighbors of the groom on behalf of the bride. The bride bows to express her greeting while she is accompanied by a melody and doira usuls. Kelin salom songs are consonant with Yor-yor songs. Alla ( Lullaby ) are songs performed in a free (impromptu) manner by mothers to lull a baby to sleep. In alla, words and phrases that help to calm and lull a child to sleep are used. Quatrains about a mother s good wishes for her child, her emotional feelings are performed leisurely, through sincere and tender songs. Non-ceremonial songs of free themes are represented by such genres as qushiq, terma, lapar, yalla, and ashula, which are performed at various occasions and in various circles. Qushiq ( song ) is a distinct type of song of couplet form, created based on barmoq meter (a folk syllabic versification system), the initial hemistiches of which have a double rhyme (such as aaba or aabb). It is suitable for a variety of themes and styles (humorous, historical, love-related, etc.). The Band (couplet) of the song, as a rule, consists of four hemistiches and four melodic constructions to harmoniously match them. (professional female singer). Terma ( to collect, to select, or to sort out ) is a genre that includes various types of songs (such as autobiographical songs and songs about edification and love) written in smoothly interlinked quatrains. Terma songs are rather melodious and are sometimes accompanied by doira. Yalla is a song in band-naqarot (couplet-refrain) form that combines poetry, melody, and dance in a single whole. It is considered to be the result of the creative activity of women. This genre, which is widely spread in the Ferghana Valley and Tashkent, comes in either solo or ensemble form. A professional yallachi (performer of yalla songs) dances while singing the band (couplet) parts, accompanied by doira, dutar, or an instrumental ensemble. The naqarot (refrain) parts are sung by the other participants. An ensemble of yallachis, consisting of two to three women, dances and sings, accompanied by doira. In yalla songs, often have love-related themes and are full of fun and jokes. The women s intonation dictionary is widely used, and dancing doira usuls are often performed. Ashula ( song ) is a genre of song that is rich in lyrical intonations, glorifying mainly love and affection themes. In terms of origin, ashula songs can be of two types: 014 015

1. 2. Uzbek National Musical Instruments 1. ashula songs that emerged from oral folk music 2. ashula songs that were created by bastakors, professional masters of music. Folk ashula songs, in contrast to terma, lapar, qushiq, and yalla songs, are characterized by their relatively developed form, wide voice ranges, high syncopation, distinct melodies and intonations, and the possibility of applying poetical texts, which are based on barmoq meter (folk syllabic versification system) or on aruz meter (professional quantitative versification system). Professional ashula songs differ from folk ashula songs with a developed form, melodies with a range of one and a half to two octaves, high culminations, the use of texts from classical poetry (such as Navoiy, Bobur, Mashrab, Huvaydo, Nodira, Uvaysiy, Muqimiy, Furqat), and the application of doira usuls of various degrees of complexity. Suvora ( horseman ), one of the types of professional song genre, is especially popular in Khoresm, where the art of singing is significantly developed. Suvora songs are based on the poems of Navoiy, Mashrab, Nodira, Ogahiy, Munis, Avaz Otar, Bedil, and others. The most sophisticated forms of suvora songs make up part of Khoresm maqoms. Katta ashula is a type of song that is long and requires deep breathing. It is sung in a free manner by a single hofiz- The Uzbek nation has one of the richest and most diverse selection of musical instruments in the world. In fact, it has a rich variety of instruments relating to almost all groups of musical instruments, including plucked string instruments, bowed string instruments, tapped string instruments, labial wind instruments, and percussion instruments. Traditional musical instruments, which came down to us through the ages, can be divided into three groups: string instruments, wind instruments, and percussion instruments. The string instruments group, based on the method of performance, is divided into plucked string instruments (dutar, dumbira, tanbur, Afghan rubab, Kashgar rubab, etc.), bowed string instruments (qobiz, ghijjak, sato), and struck string instruments (chang). All plucked and bowed string instruments consist of the following parts: kosakhona (the body or resonator), which is usually made of mulberry, apricot, or nut tree; kharrak (the bridge), which is ashulachi (singer) or two to four hofizs, who act as hamnafas (accomplices) in singing. The latter is typical in the Ferghana-Tashkent local style and does not use instrumental accompaniment. In katta ashula, solemn expressive recitative intonations of the range of one and a half octaves and more are harmoniously combined with ghazals (written by Lutfiy, Sakkokiy, Navoiy, Mashrab, Muqimiy, Furqat, Miskin, Haziniy, and Habibiy) with themes relating to religion, philosophy, love, affection, and edification. This genre is also known under other names such as patnisaki ashula ( song with a tray ) or likobi ashula ( song with a saucer ) because hofizs (singers) sometimes carry a patnis (tray) or likob (saucer) during performances. CD 1, Uzbek Song Heritage, presents examples selected from the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan. Specifically, it includes qushiq, terma, lapar, yalla, and ashula songs representing all regions of the Republic of Uzbekistan, as well as examples of suvora and katta ashula, performed by master khonandas (professional singers). used for stringing; and dasta (the fingerboard or neck), which varies in length. The dutar (or qoshtar, meaning dichord, two-stringed ) is two-stringed plucked instrument. The strings are spun from silk. Depending on the melody played, they may be tuned in a unison, a fifth, a fourth, or an octave. The dutar s thirteen to fourteen frets, which are tied to the dasta, give it a range of more than two octaves. A dutar may be used to play folk music as well as professional music, including pieces such as Chertmak ( Tapping Out ), Dutor Bayoti ( Bayot of Dutar ), Qoshtor ( Dichord ), and Munojot. In addition, the dutar is often used as an accompanying musical instrument. For example, khonandas or ashulachis (professional singers) play dutar along with tanbur (doira, etc.) as they sing. At present, dutar is one of the most beloved musical instruments among women. The dumbira is a two-stringed instrument like the dutar. Its strings are tuned a fourth, fifth, or octave apart. Its dasta is fretless and is smoother and shorter than that of the dutar. Dumbira has a peculiar puffy sound. Common examples associated with doston art, such as Bakhshi Kuy ( Melody of Bakhshi ), as well as songs of shepherds, such as Qoylarni Yetaklash ( Leading Sheep ), Qoylarni Yigish ( Gathering Sheep ), Chuponcha ( Shepherdess ), 016 017

2. 2. and Dumbira Kuy ( Melody of Dumbira ), are performed in solo and have a range of up to two octaves. In addition to those examples, dumbira is used to accompany bakhshi in performing dostons and termas. The tanbur is a plucked string instrument that has a kosakhona and a comparatively long dasta with sixteent frets tied onto it. Besides the main frets (parda), the body of the musical instrument has four glued small sticks (khas), which function as additional frets. The number of strings varies from three to six. The range reaches almost three octaves. Recent performance practices tend to employ threeand four-stringed tanburs, which are tuned at a fourth, fifth, and second. The strings are plucked with the help of a special plectrum (pick) called nokhun, which is made of metal, or with a natural nail. Tanbur is used as a solo musical instrument when performing sophisticated music (such as maqom), or as part of a traditional instrumental ensemble. An Afghan rubab is a plucked string instrument with a kosakhona made of skin, and a short dasta that has four tied frets and six or seven khas that function as additional frets. The five main strings of a rubab, which are tuned a fourth apart, allow for playing in a diatonic scale over a range of two octaves. Ten or eleven pegs attached to synthetic strings help to make the sound resonate further. People often refer to Afghan rubab as Bukhara accompanying musical instrument by bakhshis when performing dostons. The ghijjak is a bowed string instrument that has a round kosakhona covered with skin. The ghijjak used to have three main strings tuned a fourth apart and had a range of one and a half octaves. In the musical practice of present days, the ghijjak has four strings tuned a fifth apart and has a range of almost three octaves. It is widely used as a solo musical instrument (for performing Azim daryo and Dashnobod among others) or as an accompanying instrument for instrumental pieces. The sato stands out from among similar types of bowed string instruments with its relatively big size, long dasta with tied frets, and kosakhona with additional glued khas functioning as additional frets. It has three or four strings, tuned a fourth, fifth, and second apart, and allow playing in a diatonic scale over almost three octaves. An additional eight to eleven strings beneath the main ones give the instrument more resonation. Sato is an ideal instrument for performing traditional professional music pieces that have slow tempos and many melismas (or embellishments), such as qochirim, sayqal, and nola. The chang is trapeze-shaped string instrument played by striking or plucking the strings. It has a total of forty strings, which are combined into fourteen rubab or Indian rubab as well. It is played mainly by professional sozandas (instrumentalists) as a solo accompanying instrument (examples include the melodies of Qoshchinor and Mavrigi ). It is also played as part of a folk instrumental ensemble. The Kashgar rubab is a plucked five-stringed instrument that has wooden body (kosakhona) with two horn-like branches, to which a long dasta is connected. The dasta s nineteen or more frets give the instrument a range of more than two octaves. The first two strings are used for playing melodies. They are tuned at a fourth in relation to the third string, and a fifth in relation to the fourth and fifth string. Kashgar rubab is used for playing folk melodies, sophisticated music (including Rohat, Jonon, and Jigarpora ) and melodies for dances. It can be used as a solo instrument or as a part of an ensemble. The qobiz is a bowed string instrument that has been used among Turkic people since ancient times. It has a bow-like shape that is carved out of an entire tree. The bottom part of its kosakhona is covered with skin. Two strings, made of horse hair (taken from an animal s tail), are tuned a fourth or fifth apart. It has a range of one and a half octaves. Because of its sorrowful tone, the qobiz is used for playing instrumental melodies such as Botir Kuy ( Hero s Melody ), or Chupon ( Shepherd ). In the past, it was widely used as an distinct pitches. Its range covers two and a half octaves. Chang is played either by plucking the strings or by striking them with two small bamboo sticks. Because it emits a high and clear sound, the chang is used as an onstage solo musical instrument or as one of the many instruments in an instrumental ensemble. The wind instruments group, can be divided according to the way in which the sound is produced into labial-wind instruments (ghajir nay), woodwind instruments (qoshnay, bulamon, sibiziq, surnay), brass instruments (karnay), and reed-plucked instruments (changqobuz). Among the most ancient and simple types of wind instruments are ghajir nay and sibiziq. The ghajir nay (or chupon nay) is a longitudinal musical instrument made of the wing bones of steppe eagle (ghajir). It has four small holes, three on the front side and one in the back. This type of musical instrument has a range of only a sixth. It is mainly used for playing Chuponcha ( Shepherdess ) melodies. It can also be used for producing special signal sounds associated with labor activities (such as leading or watering flock). The sibiziq (or sibizgha) is a mouthpiece wind instrument made of simple reed. Like the ghajir nay, it is played longitudinally. It has three small holes that are covered and uncovered by the instrumentalist s fingers. Its range covers a sixth. It is especially used to play Sibiziq Kuy 018 019

2. 2. ( Sibiziq Melody ). In the past, it was used for sending information (signaling) as well. The nay is a transverse wind instrument played. Depending on the materials used in its production, it can bear the names of yoghoch nay (wooden nay), mis nay (copper nay), birinj nay (bronze nay), or gharov nay (reed nay). Six small holes are half closed or closed completely by the instrumentalist s fingers. Its blowing hole is located near one of the ends. It is a chromatic instrument with a range of almost two and half octaves. Nay is mainly played by professional sozandas (instrumentalists) as a solo instrument (for performing Chuli Iroq and Subhidam among others). It may also be part of an instrumental ensemble. The Qoshnay is a wind instrument that consists of two reed nays tied together. One of the ends of hte qoshnay has a double reed. The qoshnay has six or seven small holes that may be covered or uncovered by the instrumentalist. It has a range of two octaves. The qoshnay can be used either as a solo instrument (in performing Sarbozcha or Layzongul among others) or as part of various types of ensembles. The bulamon (bolaman, balabon) is a wind instrument made of mulberry tree that has the form of a small surnay. However, the sound is produced by blowing into a reed, as with a sibiziq or qoshnay. It has eight small finger holes and usually has its loud and high sound, it is used to blare out at folk festivities and celebrations (such as Shodiyona ), including various wedding ceremonies (such as Begi Sulton ). In the past, is was also used during hunting and to as a way for army men to signal. The changqobuz is a circular reed plucked instrument made of iron or bone. Although it used to also be made of camel rib, today s instruments are almost all made of iron or bone. In the middle of the changqobuz is a steel reed seven to nine centimeters long. The instrumentalist holds the changqobuz with his or her left hand, clenches it with his or her teeth, and plucks the reed with the forefinger of his or her right hand. A steady main sound and its overtones are thus produced. These sounds are controlled by the air pressure coming from the mouth. Changqobuz is played predominantly by women, for melodies such as Changqobuz Kuy ( Melody of Changqobuz ) and Qobuz Chalish ( Playing on Qobuz ). The percussion instruments group is represented by skincovered instruments (doira, noghora) and self-resonating instruments (safoil, qoshiq, qayroq). The doira (chirmanda, childirma, daff) is a round percussion instrument. Its frame is made of vine shoots, apricot tree, or walnut tree. One side is covered with calf or saiga (goat) skin. The inner side of the frame has more than forty jingling rings. a range of two and half octaves. The bulamon, as a melody instrument, is typically played for Khoresm musical pieces, and is widely used in various ensembles. It can also be used as a solo instrument (for performing Mukhandas or Sarparda among others). The surnay is a wind instrument made of apricot, mulberry, or walnut tree. It is a carved instrument that has a cone shaped nay (tube). It has eight holes, seven on the front and one on the bottom. The blowing side of a surnay has a small metal tube, on which a thin plate with a double reed (sadat) is installed. It has a range of two octaves. This musical instrument has a loud and clear sound. As part of an ensemble consisting of a karnay, surnay, doira, and noghora, it is widely used in performing dance melodies, popular folk songs, and the surnay cycles of maqoms ( Surnay Navosi or Surnay Iroghi among others) at various festivities and ceremonies. The karnay is a wind instrument made of brass and measuring two or more meters long. It has a bell part is in the form of expanding cone, and a brass mouthpiece at the other end, through which the instrumentalist blows. A karnay does not have any holes for the instrumentalist to cover. The sound exists through the bell part only, and the player may produce pitches at a fourth, fifth, seventh, and octave above the main pitch. It is played as part of an ensemble that includes a surnay, noghora, and doira. Because of By beating the side of the doira, a relatively loud bak sound is produced, while beating its middle part results in production of a relatively low bum sound. This musical instrument is widely used during weddings, folk festivals, promenades, celebrations, and other types of events, as a solo instrument accompanying dance usuls such as Katta oyin and Pilla. As part of a traditional ensemble, it plays the important role of keeping the tempo by beating usuls. In addition, the doira can serve as an individually accompanying instrument to tanbur, rubab, ghijjak, and nay. The noghora is a percussion instrument that has a pot-like kosakhona. It is played by beating the body, which is covered with the skin of a saiga (or other animal) with a stick. Noghoras are named according to their size and the loudness of their sound: dol noghora, kos noghora, and rez noghora. Dol noghora, which has a very loud sound, is played by beating it with one medium-sized, thick stick. Kos noghora produces a medium-low bum sound and is played with two sticks. Rez noghora is small and produces a loud bak sound and is also played with two sticks. Kos noghora and rez noghora are played during various wedding ceremonies, public holidays, festivities, shows, and other types of events (such as Shodiyona or Katta oyin and others) as part of a larger ensemble that includes karnay and sunray, and sometimes doira. 020 021

2. 3. Maqom Art Instrumental Ensembles In Uzbek instrumental performance practice, traditional ensembles formed, performing mainly in maydon ( square ) and khonaki ( home ) settings. Ensembles that include such musical instruments as surnay, karnay, noghora, and doira, which produce loud sounds, perform predominantly on open squares, especially at various traditional folk festivals (performing, for example, the cycle of Shodiyona ), shows of rope walkers and puppeteers (such as Dorbozi, Duchava, Gul oyin Duchavasi, and Charkh ), wedding ceremonies (performing songs such as Sadr, Begi Sulton, or Navo Charkhi ), and during public holidays. On the other hand, ensembles that combine relatively gentle musical instruments, such as tanbur, dutar, gijjak in the string instrument family, nay, bulamon, qoshnay in the wind instrument family, and doira among the percussion instruments, usually perform in homes. In most of the cases, these ensembles perform the melodies of maqoms, instrumental compositions (such as Mirzadavlat, Sharob, or Ilgor ), and accompany diverse folk songs and dances. There are local variants of traditional instrumental ensembles. For example, in Bukhara musical practice, it is possible to observe an ensemble consisting of tanbur, nay, and doira; in Ferghana-Tashkent Maqom ( place, location, tone, mode ) refers to a group of melodies and songs created based on a certain mode (parda, perfect combination of tones ) and a system of usuls (rhythmic formulae) in the music of Central Asia and the Middle East. Maqoms make up a significant part of the musical heritage of the majority of Muslim nations. The Maqomot system in Uzbek music is a general theoretical notion used to denote Bukhara Shashmaqom, Khorezm maqoms, and Ferghana-Tashkent maqom cycles, which emerged as a result of the development of universal classical foundations (that is, mode, intonation, and usuls). Maqoms are divided into cholghu yullari (instrumental cycle) and aytim yullari (vocal cycle) groups. These groups, representing sophisticated forms of instrumental music and singing art, have been performed by sozandas (musicians) and khonandas (singers) either as solos, as accompaniment, or with musical practice tanbur, dutar; in Khoresm dutar, bulamon, gijjak, and doira. The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan preserved various examples of melodies performed on Uzbek national musical instruments. CD 2, Uzbek Instrumental Music, contains various examples of simple melodies representing folk music, as well as different interpretations of developed classical instrumental melodies, representing professional music. accomplices (hamnafas). In performing maqom compositions, tanbur is considered the leading musical instrument, whereas doira plays an important role in performing usuls (steady rhythmic formulae), which show up systematically in instrumental and vocal parts. Instrumental ensembles may consist of various combinations of instruments. The instruments may include tanbur, dutar, Afghan rubab, sato or qobiz, doira, ghijjak, or bulamon, and others. In ashula yullari (song cycles) of maqoms, ghazals relating to love or edifying, religious, and philosophical themes, the lyrics are written by classical poets, such as Jomiy, Lutfiy, Navoiy, Bobur, Fuzuliy, Hofiz, Amiriy, Nodira, Zebunniso, and Ogahiy, or folk rubais are used. Bukhara Shashmaqom is a group consisting of six maqoms, which occupied a principal place in the classical musical heritage of the Uzbek and Tajik people. It emerged as a result of the creative activity and scholarly pursuit of professional court musicians (bastakors, sozandas, and khonandas) and music experts (musiqashunoslar) of the city of Bukhara in the middle of the eighteenth century. Shashmaqom includes the following maqoms: Buzruk ( big, great, grand ), Rost ( right, true ), Navo ( melody ), Dugoh ( two places, two modestones ), Segoh ( three places, three modes-tones ), and Iroq (named after the country). The melodies and songs in each of 022 023

3. 3. these maqoms are related by sharing modes and intonations, usul rhythms, forms and styles. Each maqom of the group consists of two major parts: an instrumental part called Mushkilot ( difficulties ) and a vocal part called Nasr ( triumph, victory ). The instrumental part includes the main sections of Tasnif ( perfect work ), Tarje ( repetition ), Gardun ( reverse of a fortune, fate, destiny ), Mukhammas ( fivefold ), and Saqil ( moderate, heavy ), which remain unchanged in their doira usuls and bear the same names across all maqoms of the group. However, each maqom has its own distinct melodies and intonations for each of these sections, which is what distinguishes the six types of Shashmaqom. The sections are named after maqoms (for example, Tasnifi Rost, Tarjei Buzruk, Garduni Navo, etc.). Solo melodies in the instrumental part, Mushkilot, can be performed with tanbur, but also with ghijjak, dutar, nay, rubab, qoshnay, or other national musical instruments. It is also common to observe an instrumental ensemble consisting of tanbur, nay, and doira players in the musical practice of Bukhara. Traditionally, after the instrumental parts of Shashmaqom have been performed one after the other without interruption, the performers proceed with its vocal part, Nasr. Nasr consists of two different groups. The first group is used as well as performance styles differ from those of Bukhara maqoms. The maqoms of this type consist of two big parts as well: instrumental melodies (Chertim Yuli or Mansur) and songs (Aytim yul or Manzum). The CholghuYuli (instrumental cycle) consists of the following independent sections: Tani maqom ( foundation of maqom, body ), Tarje, Peshrav ( striving forward ), Mukhammas, Saqil, and Ufar, which are performed as solos or accompanied. Tanbur is used for the melody, and doira is used for the usuls. Maqoms that include more instruments (such as dutar, nay, bulamon, qoshnay, ghijjak, etc.) still have those two as a foundation. The Aytim Yuli of Khoresm maqoms has the following main sections: Tani maqom, Talqin, and Nasr; and the following subsections: tarona, suvora, naqsh, faryod, and ufar. Khoresm maqoms, unlike Shashmaqom, have no second group of shuba. Aytim Yullari are recited poetic works written by Navoiy, Fuzuliy, Mashrab, Ogahiy, Munis, Avaz Otar, and other poets in aruz meter (quantitative versification system). Among the Khoresm maqoms kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan, the examples of Chertim Yuli performed by Ollanazar Hasanov (tanbur) and Jumaniyoz Hayitboev (dutar) as well as examples of AytimYuli performed by Komiljon represented by the following sections: Sarakhbor ( main news, main topic ); Talqin ( edification, advice ); Nasr ( help, triumph, victory ); the connecting part between them, Tarona ( song, tune ); and the closing part, Ufar (a dancing end). The second group consists of the sections (shubas) Savt ( reflection, sound ) and Moghulcha ( Moghul style ), and the subsections Talqincha, Qashqarcha, Soqiynoma, and Ufar. The sections of the Nasr part of Shashmaqom are sung based on works of classical poetry (written by Lutfiy, Sakkokiy, Atoiy, Hofiz, Jomiy, Navoiy, Fuzuliy, Bobur, Mashrab, and others). The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan has instrumental melodies performed by famous maqom masters Marufjon Toshpulatov (on tanbur) and Najmiddin Nasriddinov (on doira), which were recorded on magnetic tape in 1959. Examples of these are found on cd 3. Khoresm maqoms are distinct types of maqoms that were systematized in the first half of the nineteenth century. Like Bukhara Shashmaqom, they represent a big group consisting of six main maqoms (Rost, Buzruk, Navo, Dugoh, Segoh, and Iroq). Although in terms of general structure, Khoresm maqoms are similar to Shashmaqom, some of the names, melodies, and usuls Otaniyozov (voice, tar) and Abdurashid Otajonov (doira) are to be found on CD 4. Ferghana-Tashkent maqom cycles is a term used to denote a type of maqom cycles that emerged in the musical practice of Tashkent and the cities of the Ferghana Valley (such as Kokand, Namangan, Andijan, Ferghana, Margilan, and Quva). Unlike Shashmaqom and Khoresm maqoms, Ferghana-Tashkent maqoms do not represent a single united cycle, but rather, several individual, separate cycles. In particular, cholghu yullari (instrumental cycles) range from single-part small-sized melodies (such as Mushkiloti Segoh, Surnay Iroghi, Chorgoh, Ajam Va Uning Taronalari, Mirzadavlat I-II, Segoh I-III, Munojot I-V, and Miskin I-V ) to three- to five-part cyclic ones. Ferghana-Tashkent maqoms are performed on various national musical instruments (such as nay, ghijjak, dutar, tanbur, and surnay) either as solos or in traditional ensembles. Ashula yullari (song cycles) of Ferghana-Tashkent maqoms, much like cholghu yullari (instrumental cycles), have independent single-part song groups (such as Segoh, Toshkent Iroghi, or Munojot ) as well multi-part song groups. Especially popular are five-part ashula yullari, such as Chorgoh, Bayot, Bayoti Sheroziy, and Gulyor- Shahnoz ; and sevenpart ones, such as Dugoh- Husayn. They use poems of classical poetry (written by Sakkokiy, Navoiy, Bobur, Uvaysiy, 024 025

3. 4. Traditions of Uzbek Doston Art Furqat, and Muqimiy, among others). The yalla, ashula, and katta ashula genres, to some degree, have influenced the development of the intonation system of Ferghana-Tashkent maqoms. This made them truly popular, and it is one of the reasons as to why they became famous among the people. Moreover, performing ashula yullari in a free style without doira usuls, or in other words, performance of yovvoyi maqoms ( wild maqoms ), became a tradition. These types of maqoms are called Yovvoyi Ushshoq or Yovvoyi Chorgoh. In contrast to Shashmaqom, Ferghana-Tashkent maqoms were often performed not only at royal courts and palaces, but also at various events that were associated with the daily life of the people. For example, surnay yullari (surnay cycles) were performed during folk shows, festivities, circus shows, and wedding feasts, while performances on dutar, tanbur, and ghijjak were held at various get-togethers and meetings organized in homes. CD 5 includes selected examples of ashula yullari (song cycles) and cholghu yullari (instrumental cycles) kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan. Examples of ashula yullari include Gulyor-Shahnoz by Shoqayum Shobaratov (voice, tanbur), Jamol Hidoyatov (voice), Husanjon Abdullaev (voice, dutar), Oral doston art traditions hold a special place in the culture of Uzbekistan. These traditions brightly reflect the flourishing of storytelling, novel narration, eloquence, and instrumental performance of the Turkic people over the centuries. As opposed to dostons that emerged from classical written literature (for example, Farkhod and Shirin, Leyli and Mejnun, and others, which make up part of the Khamsa work of Navoi), these types of dostons are the result of the creativity of professional bakhshis (shoirs, jyraus, and others) directing epics. These types of dostons (including Alpomish, Goroghli, Kuntughmish, and Oshiq Gharib ) consist of prosaic and poetic parts. Indeed, the art of bakhshi unites singers and instrumentalists (dumbira, qobiz, dutar, tar), and the skills necessary for this art were honed over the course of years spent in ustoz-shogird ( master apprentice ) traditional schools of mastery. and Abdullajon Soliev (doira); and Yovvoyi Chorgoh by Mamatbuva Sattorov (voice) and Khojimurod Muhammedov (voice). Examples of cholghu yullari include Navrozi Ajam, Ajam Va Uning Taronalari by Rizqi Rajabiy (tanbur) and Ishoq Rajabov (dutar). Performances of dostons were widespread in rural areas and villages. They usually started in late autumn and continued to early spring. Bakhshis usually participate in specially organized doston evenings, but also in various family-related festivities, wedding ceremonies, and other events. Traditional doston art is found in almost all areas of Uzbekistan, including Surkhandarya, Kashkadarya, Khoresm, and the Republic of Karakalpakstan. The traditions of doston art of Surkhandarya and Kashkadarya. These regions, located in the south of Uzbekstan, are especially famous for their Shakhrisabz and Sherobod schools of doston art. These schools became popular with such magnificent dostons as Alpomish, Goroghli, Sohibqiron, Oltin Qovoq, Malla savdogar, Ollonazar Olchinbek, and Oychinor. The representatives of these schools (such as Rajab shoir, Abdulla Nurali oghli, Islom Nazar, Shernazar Beknazar oghli, Mardonaqul Avliyoqul oghli, Umir Safar oghli, and others) skillfully and artistically narrate prosaic parts of dostons while the poetic parts are performed by a guttural singing, in a recitative manner. In such performances, dumbira (before it was qobiz) is used as an accompanying musical instrument. In addition, instrumental versions emerged, in which a separate melody, 026 027

4. 4. representing the doston song, is played by a dumbira. These melodies are called Bakhshi kuy ( melody of Bakhshi ). CD 6, Dostons from Surkhandarya and Kashkadarya, features examples of dostons kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan, such as Ravshan by Fayzulla bakhshi Donaev (voice, dumbira) and Avaz by bakhshi Abdumumin (Mumin polvon) Rahmonov (voice, dumbira). The Doston art of Khoresm has its peculiar traditions. In particular, Khoresm dostons are not performed with traditional guttural voices, but rather, with melodious open voice, accompanied by Dutar. However, since the twentieth century, tar has also been used widely. Moreover, doston song parts (nomas, epic melodies or tunes) may be performed by an ensemble, led by a bakhshi playing dutar, while the other performers play ghijjak, bulamon, and sometimes doira. The repertoires of famous performers of Khoresm dostons (Bola bakhshi (Qurbonnazar) Abdullaev, Tursunboy bakhshi Jumaniyozov, Qahhor bakhshi Rahimov, and Qalandar bakhshi) are dominated by the epos of love-related themes, including Avazkhon, Khirmondali, Oshiq Gharib and Shohsanam, Yusuf Ahmad, Bozirgon, Oshiq Oydin, and Oshiq Mahmud. The archive of audio recordings Alpamys performed by famous jyrau of Karakalpakstan Qiyas Khayratdinov (voice, qobiz) and one part from the doston Gharip Ashiq performed by Shaniyaz baqsy Erniyazov (voice, dutar). of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan contains extracts from such dostons as Hurliqo-Hamro performed by Tursunboy bakhshi Jumaniyozov (voice, dutar) and Bozirgon performed by Bola bakhshi (Qurbonnazar) Abdullaev (voice, tar). Some of these extracts are included on CD 7, Dostons from Khoresm. Traditions of Karakalpak doston art. The dostons of the Republic of Karakalpakstan, located in the northwest of Uzbekistan, are performed by jyraus, baqsys, and qissakhans (narrators of novels). The repertoires of jyraus include mainly heroic dostons (such as Qoblan, Sharyar, Edige, Alpamys, and Maspatsha ). Namas (epic melodies or tunes) song parts, written in aruz meter, are performed with guttural voice accompanied by qobiz. Baqsys, apart from romantic dostons ( Gharip Ashiq, Sayatkhan-Khamre, Yusuf- Akhmet, and Goroghli ), perform songs based on classical poetry (written by Makhtumquli, Kunkhoja, Ajiniyaz, and Berdaq) by singing with a regular open voice and playing dutar, ghijjak, and sometimes bulamon. The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan has some examples of dostons performed by jyraus and baqsys of Karakalpakstan. CD 8, Dostons from Karakalpakstan, features examples of namas, such as 028 029

Part II. CONTENTS OF CDS WITH DETAILED DESCRIPTIONS CD 1 Uzbek Song Heritage CD 1 Uzbek Song Heritage 42:30 CD 4 Khoresm Maqoms 35:15 01. Mayda 01:16 ( Grind It ) folk labor-related song 02. Yarghuchoq 00:35 ( Handmill ) folk labor-related song CD 2 Uzbek Instrumental Music 62:43 CD 3 Bukhara Shashmaqom 32:20 CD 5 Ferghana-Tashkent Maqom 32:43 CD 6 Dostons from Surkhandarya and Kashkadarya 61:34 Rajab shoir Normurodov (voice), man, Dehqonobod district, Kashkadarya region Musical-Ethnographic Expedition to Kashkadarya (1956) Bibioy Salimova (voice), woman, Dasht village, Karshi district, Kashkadarya region Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1961) CD 7 Dostons from Khoresm 75:50 CD 8 Dostons from Karakalpakstan 50:12 03. Chiray-chiray 00:56 folk labor-related song Zumrad Rahimova (voice), woman, Yakkabogh district, Surkhandarya region Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1958) 04. Khosh-khosh 00:53 folk labor-related song Idris Norboyeva (voice), woman, Kukabuloq village, Kashkadarya region Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1958) 05. Boychechak 00:26 ( Snowdrop ) children s calendar-related ceremonial song Tindi Yunusova (voice), woman, Vodil village, Ferghana district, Ferghana region Rikhsi Obidjonova (voice), woman, Vodil village, Ferghana district, Ferghana region Musical-Ethnographic Expedition to Ferghana (1955) 030 031