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On the Regional Styles of Uzbek Music

Author(s): Faizullah Karomatov and M. Slobin


Source: Asian Music, Vol. 4, No. 1, Near East-Turkestan Issue (1972), pp. 48-58
Published by: University of Texas Press
Stable URL: http://www.jstor.org/stable/834140 .
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ON THE REGIONALSTYLESOF UZBEKMUSIC*
By
Faizullah Karomatov
(Transl. M. Slobin)

The roots of Uzbek musical art reach back into deep antiquity. As
early as the sixth to fourth centuries B.C. Herodotus wrote about
the abundance of songs and dances among the tribes living on the
territory of present-day Uzbekistan and about the role of music in
the life of those ancient inhabitants of Central Asia. This is con-
firmed by archaeological finds in the territory of Uzbekistan, in-
cluding monuments of material culture and works of art.

The Uzbek's way of life, customs, thoughts, hopes and struggle


for social and national liberation are deeply reflected in Uzbek
folklore. This brought about the variety in theme and genre of
Uzbek folk songs. Songs can be divided into daily-life songs
(lullabies, children's songs and lyric songs, the latter including
songs of love, humor, nature, meditation, etc), family ceremonial
songs (wedding songs and laments), work songs, songs of social
protest and historical songs. In turn this thematic variety led to
musical diversity. One can note the development of the following
genres of Uzbek folk songs, divided into two groups: 1) specif-
ically ceremonial and daily-life songs, i.e. songs immediately
connected with some ritual or manifestation of daily life (lulla-
bies, work songs, calendric songs, wedding songs, laments,
etc); 2) genres performed everywhere, with a great variety of
theme: the terma or chublama,1 koshuk,2 lapar,3 yalla,4 and
ashula5 genres. Except for the ashula, the aforementioned genres
are basically strophic in structure, melodically narrow and some-
times improvisatory. The ashula is particularly distinctive, with
its extensive melodic structure and through-composed form based
on a single thematic cell.

Uzbek folk music is basically diatonic in scalar foundation. It


is characterized by a wealth of melodic emotional nuances,
distinctive metro-rhythmic quality (predominantly syncopated in
lyric songs), marked caesuras and chiseled, well-proportioned
form. The repertoire of Uzbek professional music of the oral
tradition is distinguished by breadth of range (over two octaves)
and highly developed melody. This includes the magam (art
music; see below--M.S.) cycles and those vocal and instru-
mental pieces which are more developed in form and melody.

*This paper is a newly expanded and revised version of the


author's "Local Styles of Uzbek Folk Music" (Moscow: Nauka,
1964), a paper read at the VII International Congress of Anthro-
pological and Ethnological Sciences (Moscow, 1964); the present
draft was prepared especially for Asian Music.

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Great variety is also characteristic of the folk musical instrumen-
tarium of Uzbekistan. All the groups of the Western symphony
orchestra are represented: strings (ghichak fiddle, chan dulcimer,
sato, rubab, dumbra, dutar and tanbur, all long-necked lutes), 6
winds (nai end-blown and transverse flutes, surnai and bulaman
oboes, karnai straight horn and sibizik single-reed pipe) and
percussion (naghara kettle-drum, doira tambourine, goshug spoon
castenets, qairaq stone castenets and safail jingle). This wealth
of instruments led in turn to the particular development of Uzbek
solo and unison-ensemble instrumental music.

The works of the great Central Asian-born scholars and thinkers


Al-farabi, Avicenna, Jami and Dervish Ali (tenth-seventeenth
centuries) testify to the high level of theoretical musical thought
in Uzbekistan and Tajikistan. These works shed considerable
light on questions of musical acoustics, structure, scales, meter
and rhythm. The development of a rich musical art among the
Uzbeks in the past century is closely tied to the formational pro-
cess of the Uzbek nation.

Due to the ethnic commonality and sharedway of life within various


regions, four basic local styles are currently defined for Uzbek
music. Local conditions of life and work, as well as customs and
mores, initially affected the themes and genres of folk songs.
The four styles are those of the Surkhandarya-Kashkadarya,
Bukhara-Samarqand, Khwarizmand Ferghana-Tashkent zones.
Let us examine these regions one by one. Until rather recently,
the population of the Surkhandaryaand Kashkadarya regions led a
nomadic way of life, basically concerned with livestock-raising
and only partially with agriculture (non-irrigated cereal crops).
In this context we can note the predominance of songs about
pastoral work and nomadic life, and also work songs connected
with cultivating cereal crops. Thus, for example, the hay-
mowing song "Ezi" is popular, as is the threshing-song "Maida. "
The musical way of life of this zone differs markedly from the
other regions of Uzbekistan. In the musical life of the Surkhan-
darya and Kashkadarya prominent places are held by the bakhshi,
the singer of tales, and the dumbrachi, the skilled performer on
the dumbra, two-stringed plucked lute. The dumbra is the fore-
most instrument here, whereas it is only very rarely found in
other regions of the republic. Many instruments popular in
other regions up to the Revolution were not known in the Surkhan-
darya and Kashkadarya, especially in the valleys of groups such
as the Kunghrats and Qipchaqs. The whole instrumentarium of
the valley-dwellers of this region consisted of the dumbra, the
shepherd's flute (chupon nai), a jew's-harp (changkobuz) and
the tambourine (doira). In mountain settlements, basically

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inhabited by Tajiks, one can find the dutar, surnai, naghara and
other musical instruments most likely brought from Bukhara, to
which Surkhandaryaused to belong. It is characteristic that the
art of Bukhara, which was developed in conditions of sedentary
urban life, was not able to significantly affect the nomadic popu-
lation of Surkhandarya. Bukharaninfluence was basically limited
to the settled part of the region's population.

In Bukharaand Samarqand, as in the environs of those great


cultural centers of Central Asia, where the population has been
sedentary since ancient times, we see aspects of music which
differ greatly from the local Surkhandaryamusic culture. These
differences occur not only in the area of the themes and genres
of folklore, but also in the basic musical way of life, the degree
of development of the art and the clear differentiation between
folk and professional music and musicians, though the latter
preserved the tradition or oral transmission. We do not find
bakhshis and damburachis in these cities, and not even always
in the surrounding villages. Instead, professional singers (hafiz)
and instrumentalists play the main role, along with skilled per-
formers of the maqams, the highly developed lyric cycles of
Uzbek and Tajik art music. There are also other genres of
music: cycles of dance songs, instrumental melodies and usuls
(drumpatterns). Ensembles of singers, dancers and instrumen-
talists were widely favored. These were the sazanda, dancers
and singers who performed cycles of songs of modest form with
texts of diverse content.

In Bukharaand Samarqand we can also observe a rich instrumen-


tarium, various forms of domestic music and widespread use of
music in ceremonies, e.g. weddings. This might include the
regular occurrence of domestic evenings of music and poetry
with the participation of leading musicians and singers. There
were also other musical events associated with urban life. The
highly developed art music, which arose on the basis of folk
music, now influences the forms and patterns of its folk sources.

The great popularity of Tajik songs in cities and in many mountain


and valley settlements in the Bukharaand Samarqandareas af-
fected the music of the whole region. The common-socio-
economic matrix and joint musical folklore of the neighboring
Uzbeks and Tajiks created a heritage shared by both peoples.
The BukharanShashmagam (a set of six maqams--M.S.) is a
striking example of this trend. It is typical that in Khwarizm
the Shashmaqam contains so many sharp local traits that it is
no longer common to two peoples, but must be considered a
purely KhwarizmUzbek phenomenon.

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In Khwarizm, as in Bukharaand Samarqand, various genres of Uzbek
art music (suvora, etc) such as cycles of songs and instrumental
pieces occupied an important position along with the maqams. We
must also note the high level of professionalism of the khalfa folk
musicians, venerable singers and instrumentalists. Though many
traits are shared by the music of Bukhara and Khwarizm and the
level of performance is equal, the Khwarizmian style stands out
due to distinctive local color. This includes the melodic patterns
and manner of performance, featuring nuances in accordance with
the local dialect, as well as the content and performance style of
the epic tales (doston). In Khwarizm the tales are sung exclusively
to striking tunes, whereas in all the other regions of Uzbekistan
they are sung in a recitative-declamatory or perhaps recitative-
melodic style, rarely employing dance-like tunes. In Khwarizm
the tales are accompanied by the dutar lute, or often by a whole
ensemble consisting of bulaman, ghichak, dutar and doira. Every-
where else tales are performed by the bakhshi reciter to the dumbra.
Individual Khwarizmian tale episodes may even be accompanied by
the tar lute, rubab and accordion. All of this, of course, could
not help but influence the melodic basis of the tales.

We also see local differentation in the instrumentarium of Khwarizm.


Thus , the bulaman is found only in Khwarizm, while the dumbra is
not used at all. Also typical of the region is the widespread use
of the accordion, introduced in the late nineteenth century from
Orenburg. Local patterns of construction and timbre of certain
instruments can also be noted. For example, the Khwarizm dutar
differs from the dutars popular in other areas of Uzbekistan (par-
ticularly the Ferghana region) in appearance as well as sound
capability and timbre.

The local traits of folk music in the Ferghana Valley are especially
interesting. The instrumentarium is comparatively limited. Profes-
sional music does not occupy such a sweeping role. Here the
maqams were not as widespread in pre-Soviet times as in Bukhara,
Samarqand and Khwarizm. The exception to this pattern was the
cultural center of the Ferghana Valley, Kokand (capital of the
Kokand Khanate--M. S.), where the maqams and other varieties
of Uzbek professional music were introduced from Bukhara. The
Ferghana Valley is particularly marked by its songs. They are
narrow in range and simple in structure, but many-sided in content.
Ichkari or women's songs, occupy a large place. The panis-
ashula is also quite local in character, widespread only in the
Ferghana Valley, including the Tashkent region. The singing
style and varied manner of performance are also local traits.

As examples we have introduced songs from the Surkhandarya,


Bukhara, Khwarizm and Ferghana Valley (Namangan) regions.

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In order to most clearly show local variation, we have chosen songs
with the same basic meter (6/8). The first song (Ex. 1) is from the
epic tale, while the other three are dance tunes with love as the
topic. It is characteristic that local differences emerge even in
the varied treatment of 6/8 meter; internal rhythms can also have a
purely local character. While the variety of emotional tone and
melodic character is connected to the genre and content of each
song, the peculiarities of structure and development, as well as
manner of performance, are local phenomena. These factors
characterize the musical folklore of a given locale and, more
broadly, of a region.

The music cultures of neighboring peoples have also had signifi-


cant impact on the development of local styles. Thus, Uzbek
music has been considerably influenced by the music of the
neighboring Turkmens, Kirghiz and Tajiks. This is felt in the
borrowing of musical means of expression, traditional manner of
performance and specific musical instruments. One must also
note the practice of alternating verses in two languages (Tajik
and Uzbek, Turkmen and Uzbek, Kirghiz and Uzbek).

The level of art reached by the regional urban cultural center is


of great importance to the development of local style s. In turn,
the characteristic traits of local folk styles have at times influ-
enced the melodic patterns of the regional art music. Thus, in
Bukhara and Khwarizm one finds the same maqams with nearly
identical tunes. Yet the peculiarities of the local folk music
have heavily influenced the melodic sphere of the maqams of
each region, including the interpenetration of each sphere by
the same performers. In this respect the maqams have divided
into independent branches, the Bukharan and Khwarizmian.

In addition to the variety of local styles which have evolved


through the specific historical conditions of the Uzbeks, Uzbek
music also displays general national traits as a result of the
convergence of local styles in the formation of an Uzbek people,
eventually to become an Uzbek nation. This process of conver-
gence has strengthened under the conditions of Soviet life as
regional styles have come into ever closer contact, causing
the loss of local chlaracteristics in some cases. Thus in the
Surkhandarya region we can see the infiltration of Ferghana,
Bukharan and Khwarizimian songs art art music (maqams ) via
radio and other sources. The somewhat underplayed Khwarizmian
style has become widespread throughout the republic and beyond
due to the improved conditions for outside ties. At the same time
Khwarizm has absorbed instrumental melodies and songs from
other regions. At times we can see the dying out of certain
genres and aspects of folk music connected with the pre-Soviet
way of life. This disappearance is connected both to a weakening

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for the need of certain genres and to the growth of the population's
aesthetic taste.

The years of building socialism in Uzbekistan have been accom-


panied by the development of Uzbek music along new paths
engendered by the new means available in Russian and Western
classical music. The approach to using local styles was important
in this period of the formation and development of Soviet Uzbek
music. Composers adapted specimens of folk music of various
regions as an integral part of Uzbek musical art. This is a natural
occurrence. It is connected to the historical, necessary develop-
ment of the spiritual wealth of the people and partly to the process
of gradual convergence of local styles into a single whole: a
national musical art.

FOOTNOTES

1. Terma or chublama: a song with brief scope and narrow


range, with melodies largely of a melodic-recitative
character.

2. Koshuk: the most widespread variety of song. Small in


range, strophic but quite varied in emotional content and
striking in its expressive melody, it most often carries a
quatrain text with seven-or eight-syllable lines.

3. Lapar: a laconic strophic song often performed by two


singers in alternation as a dialogue with accompanying
dance.

4. Yalla: usually a strophic song, often in the form of a


verse and refrain in which the verse is performed by a
soloist simultaneously with a dance and the refrain is
sung by a unison chorus of spectator-guests. In addi-
tion there are also examples with a developed melody of
dance-like character, also performed by a unison chorus
and soloist.

5. Ashula: broadly melodic, highly developed song in form


and melody, usually with lyric or didactic content.

6. For more details concerning Uzbek musical instruments,


see ed. Vertkov, et al., Atlas muzykal'nykh instrumentov
narodov SSSR (Moscow, 1963).

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Translations

Ex. 1

Shall I tell of well-built Chambil


Who, being pursued, instead chopped off the pursuer's head ?
Or of the swift one, like the wind, greeted by the waters ?
About Kdr-oghli ? About how at the age of fourteen he tamed a
dashing horse;
Having received it as a gift from the princess
Kdr-oghli decided to give it to his father.
Should I tell about Khan Avazkhan ? About the hero Avaz ?

Ex. 2

If the beloved wants, let him kill me.


Let's go, my girlfriend, let's dance.
Let's walk along the bank.

Ex. 3

I burn from my love for you, o my dear;


I thirst for a meeting, I am mad, o my dear;
I dream of your beauty every night;
What can I do, I am mad, o my dear.

Ex. 4

O the beauty who brings me happiness'.


You conquered many hearts, beautiful one'.

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J, . 1. SUrkhandaryaFpio Facerpt. (Transo.F. Karomatov)
i.

sV L~It I
I
! ! !!
Oiab-ilbodaI
I I
I
"i-"' ,I, , l!
, . . . .I

TP Ff T T F
v 1 If t
T~~t fhrci Fff5f7
9

do- im chor- ra- ha sol- gan, So- ghat- gan- dan qu. va- lab,

ft f f
l V
r
LA
. I I IP fL
I
'
El

doff
uli• I_
Oir- dan bo- ni oL gan gs- yo
shi- Sha-mo- li-

..IV"nIIo
.. . . b. I 11% 1
,r
4
t 1rvg
2 112 !, 1L

(Chash.
ma- ga-lar
kut-la-
CG-ugh-li-khon-dan tai mi, khon
gan, ai-

6m J bm i i I
m-I l l i

-6- ::P -s
•It%$.
-p-, "-0- - , • t

,4r-ug- li-dan a -tai- mi Un turt yo- ga di,


shL kirz

i i tot I 15! t ,
.... . .66
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(a.
P)
,ntr

li- i ka ber.gan- bai Bir ob kel.


rum-da di,
tal- nl-ya sU,.

sb k. lib ugb-1i o- ta si- ga- yaa, ber- di, khon.


sr-

-
-0-a va- mi,
a- A-tai- 4 bo- tie -! dan ai- ti- mi ? a
kho-dan

oeh chkA
. da
ghl. o
iure. l sdi
4a, qa rormb. i, etc.

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. ~. kk.2. ~ikharannc Tune.(Transo.
F. Karomatov)

So, en-di mua ni yor il- dir- a&- yo n-di ma- ni yor
1i-dir-sin•
drum r etc.

ul. dir- sa-yo sin ring, iii- nal-


i) ). 5r. toq li- ke,
la,-diM.

. di ms-ni yor B., yo dir. sin (Hol) ?r- ye.. lar- ni


dir. s. ii-

boiklaA
1h ua-di- ke. att ni yor sa- yo sin
ldl ildir. (Hol)

pit-h th rbk

Sx. 3. Ahwarizzian .ove eong. (franso. F. Karomatov)

diyI. fydryrm, -
d I- i, dil.b F
ty 4

ai- lab ij-sio-.. l mng gun- k.Mr


da mak ni kfb.
iech 1- 1o
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jin top- me iin hakl. re- ne mi, di. be. rim

dech i- lo.- in top-ma-iin hai- ro-na- e, diL- ba- rim


manr

Z
1 k. N.Ferghana
IDnc.Ton (Trans. F. aromatoy)
4. . 4-.
drum

Bir ke. ling, da ik- ki ke. ling,


do-
etc.

Vaq-tin ni chogh re
khu-mo-
qi.-dan

dan kfip yo
chiq-dd B• lai d.. gan
oi
I'
bI_
a-kang khu. mor ho. ho la-la.
ya. ya- la- la, ho- ho

o- ling ya- la-


e.

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