Materials
melody
ICH Materials 233
Photos
(140)-
A young girl playing _Tak teke_
Kyrgyzstan
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Farghona - Toshkent maqoms
Ferghana-Tashkent maqoms got formed in ХVIII-ХIХ centuries on the basis of Shashmaqom (sarakhbor, tarona, savt, qashqarcha, soqiynoma, ufar) and musical traditions of the Ferghana Valley.Ferghana-Tashkent maqoms are a phenomenon which is unique and original in the system of maqomat (maqom art) of Uzbekistan, existence of which is associated with musical culture of the cities of the Ferghana Valley and Tashkent region in the form of separate instrumental and vocal samples and small cycles (from two to seven parts).Instrumental maqom cycles include: “Mushkiloti dugoh I-III”, “Ajam taronalari I-III”, “Chorgoh I-V”, “Miskin I-VII” and vocal maqom cycles include: “Nasrullo I-III”, “Chorgoh I-V”, “Bayot I-V”, “Bayot Sheroziy I-V”, “Shakhnoz-Gulyor I-V”, “Dugoh-Husayniy I-VII”.
Uzbekistan -
Nurak Abdyrahmanov (famous kyrgyz komuzchu) playing _Tak teke_
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Kyrgyzstan -
A young girl playing _Tak teke_
Kyrgyzstan
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Melodies concerning the tradition of hunting
This is a complex of rite to use the benefits from the hunting properly in the daily life and social needs, and the tradition to protect the wild animals. Within the long periods of history these melodies concerning the tradition of hunting has created and developed. There is a tradition that hunters from Khangai, Khentii and Khüvsgül mountain ranges hunt deer during their mating season by calling them with similar sounds made from uram (wooden instrument for calling deer). Around the Altai and Gobi-Altai mountain ranges, the argali (wild sheep) and ugalz (ibex) are also hunted during their mating season by hunters calling them imitating the same sound as the one made from their colliding with each other. Other than these, there are unique hunting methods to call by imitating the howling to hunt for wolves, making a sound by shovshuur (instrument to call foxes) to hunt for foxes and whistling to hunt for chipmunks.
Mongolia -
Melodies for coaxing the animals
There is a specific ritual that is done in a tuneful utterance when a new mother-animal rejects its newborn or when a newborn becomes orphaned. This ritual is believed to encourage the mother-animal to accept its newborn. The ritual is one of the examples that depict the bond between herders and their livestock animals. These coaxing melodies of the ritual have become absorbed into poems and songs and constitute an important element of Mongolian oral tradition as well as an allegory about the importance of patience and acceptance in relationships.
Mongolia -
Farghona - Toshkent maqoms
Ferghana-Tashkent maqoms got formed in ХVIII-ХIХ centuries on the basis of Shashmaqom (sarakhbor, tarona, savt, qashqarcha, soqiynoma, ufar) and musical traditions of the Ferghana Valley.Ferghana-Tashkent maqoms are a phenomenon which is unique and original in the system of maqomat (maqom art) of Uzbekistan, existence of which is associated with musical culture of the cities of the Ferghana Valley and Tashkent region in the form of separate instrumental and vocal samples and small cycles (from two to seven parts).Instrumental maqom cycles include: “Mushkiloti dugoh I-III”, “Ajam taronalari I-III”, “Chorgoh I-V”, “Miskin I-VII” and vocal maqom cycles include: “Nasrullo I-III”, “Chorgoh I-V”, “Bayot I-V”, “Bayot Sheroziy I-V”, “Shakhnoz-Gulyor I-V”, “Dugoh-Husayniy I-VII”.
Uzbekistan -
Melodies concerning the tradition of hunting
This is a complex of rite to use the benefits from the hunting properly in the daily life and social needs, and the tradition to protect the wild animals. Within the long periods of history these melodies concerning the tradition of hunting has created and developed. There is a tradition that hunters from Khangai, Khentii and Khüvsgül mountain ranges hunt deer during their mating season by calling them with similar sounds made from uram (wooden instrument for calling deer). Around the Altai and Gobi-Altai mountain ranges, the argali (wild sheep) and ugalz (ibex) are also hunted during their mating season by hunters calling them imitating the same sound as the one made from their colliding with each other. Other than these, there are unique hunting methods to call by imitating the howling to hunt for wolves, making a sound by shovshuur (instrument to call foxes) to hunt for foxes and whistling to hunt for chipmunks.
Mongolia -
Farghona - Toshkent maqoms
Ferghana-Tashkent maqoms got formed in ХVIII-ХIХ centuries on the basis of Shashmaqom (sarakhbor, tarona, savt, qashqarcha, soqiynoma, ufar) and musical traditions of the Ferghana Valley.Ferghana-Tashkent maqoms are a phenomenon which is unique and original in the system of maqomat (maqom art) of Uzbekistan, existence of which is associated with musical culture of the cities of the Ferghana Valley and Tashkent region in the form of separate instrumental and vocal samples and small cycles (from two to seven parts).Instrumental maqom cycles include: “Mushkiloti dugoh I-III”, “Ajam taronalari I-III”, “Chorgoh I-V”, “Miskin I-VII” and vocal maqom cycles include: “Nasrullo I-III”, “Chorgoh I-V”, “Bayot I-V”, “Bayot Sheroziy I-V”, “Shakhnoz-Gulyor I-V”, “Dugoh-Husayniy I-VII”.
Uzbekistan -
Farghona - Toshkent maqoms
Ferghana-Tashkent maqoms got formed in ХVIII-ХIХ centuries on the basis of Shashmaqom (sarakhbor, tarona, savt, qashqarcha, soqiynoma, ufar) and musical traditions of the Ferghana Valley.Ferghana-Tashkent maqoms are a phenomenon which is unique and original in the system of maqomat (maqom art) of Uzbekistan, existence of which is associated with musical culture of the cities of the Ferghana Valley and Tashkent region in the form of separate instrumental and vocal samples and small cycles (from two to seven parts).Instrumental maqom cycles include: “Mushkiloti dugoh I-III”, “Ajam taronalari I-III”, “Chorgoh I-V”, “Miskin I-VII” and vocal maqom cycles include: “Nasrullo I-III”, “Chorgoh I-V”, “Bayot I-V”, “Bayot Sheroziy I-V”, “Shakhnoz-Gulyor I-V”, “Dugoh-Husayniy I-VII”.
Uzbekistan -
ASHULA, tarona
A small folk poetry form consisted from 4 lines. Many ashulas are sung with melodies.
Tajikistan -
Shashmaqom music
Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.
Uzbekistan