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INTERNATIONAL BULLETIN OF APPLIED SCIENCE
AND TECHNOLOGY
ECHNOLOGY
UIF = 8.2 | SJIF = 5.955
ISSN: 2750-3402
IBAST
THE ROLE OF KHORAZM DUTOR MAKOMS IN UZBEK
MUSIC CULTURE
Jumabayev Ogobek Otabek ugli
Urgench State Pedagogical Institute
1
st
year master's student, majoring in
“Mmusic education and art”
Rakhimov Botir
Research supervisor: (Phd)
Urgench State University
Head of the Department
of Music Education
https://doi.org/10.5281/zenodo.8068113
Abstract:
This article contains a scientific discussion about the importance of Khorezm
dutor maqams in Uzbek music culture and Uzbek maqam art. Information about the
description of Khorezm statuses is also provided.
Key words:
Music culture, Khorezm art, Dutor makom, folk art, musical
instruments and
singing.
Khorezm makoms are a type of status. In Khorezm, examples of classical music close to
maqam roads have been known since ancient times.
The system of six makom (Rost, Buzruk, Navo, Dugoh, Segoh, Iraq) that has reached us
was formed on the basis of Shashmaqom at the beginning of the 19th century. Each status-
determining factor consists of a specific cadence system and the melodic paths that arise on
its basis. Khorezm makams include chertim (instrument) and aytim (singing) sections, which
have an independent structure, like Bukhara Shashmaqom. The road (section) of Chertim is
made up of formal and relatively independent parts such as maqam, tarje, peshrav,
mukhamas, saqil, ufar. If the initial tani makom and the concluding
ufar are one in each
makom, the peshrav, Mukhammas, and sakil that come in the middle are up to 2-3. The
instrumental track is played as a soloist and as an accompaniment. In the solo, the tanbur is
the main note. Chornavoz is usually performed in an
ensemble consisting of tanbur, dutor,
flute, bolamon, koshnay, gijjak, chan, doira.
There are also dutor and trumpet tracks of Khorezm maqams. For example, at the
beginning of the 19
th
and 20
th
centuries, 11 Khorezm dutor maqams were popular in Khiva:
Chapandoz, Navoi,
Sadri Irak, Tashniz, Agyor and other Tanbur works,
unlike other Tanbur
works, they were serial works, each of which consisted of 2-7 parts (for example, "Iraq" dutor
status consisted of "Orta Ufori", "Nigoron", "Oromijon", "Boymukhammad", "Saklansin").
"Oraz bam va uforisi", "Majnun dali", "Raviy", "Miskin va uforisi", "Mongolian Ufori" were
included in the 6th volume of "Uzbek folk music" by M. Yusupov.
The way of saying is made up of the main parts such as status, interpretation, prose -
branches and variant parts called tarona, suvora, naqsh, faryod and ufar, which are based on
them.
