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Interpreting and Performing the Chamber Music of Uzbek Soviet Composer Georgi Mushel: the Role of Folk Music

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Interpreting and Performing the Chamber Music of Uzbek Soviet Composer Georgi Mushel: the Role of Folk Music Interpreting and Performing the Chamber Music of Uzbek Soviet Composer Georgi Mushel: The Role of Folk Music Khilola Yusupov BMus (MusEd) Honours (State Conservatory of Uzbekistan, Tashkent), MMus (State Conservatory of Uzbekistan, Tashkent) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music ABSTRACT This research explores chamber music repertoire, largely unknown to Western audiences, by Georgi Mushel, who is regarded as the founder of a 20th-century tradition of Uzbek art music. Mushel’s musical style was formed under multiple influences stemming from Western (Soviet) and Uzbek folk traditions. While Soviet scholars (Pekker, Vyzgo, Golovyants and Plungyan) claimed that Uzbek folk music had the strongest influence on Mushel’s style, their studies were limited to accounts of the contextual origins of his music, and analysis of scores; they gave very little consideration to performance aspects. Taking Mushel’s Sonatine for Flute and Piano (1948) and Sonata for Cello and Piano (1951) as case studies, this exegesis discusses the challenges of performance and interpretation in maintaining the folk-inspired style of the music while playing Western classical instruments. An investigation of specific performance practices observed in traditional Uzbek music reveals some performative elements and nuances that are not represented in the score, but which performers must absorb to create fully informed interpretations of the music. This investigation focusses on the performance challenges related to the interpretation of ornaments and the use of rubato in Uzbek music. To guide this research three main questions are addressed: 1) What contextual knowledge—especially knowledge concerning Mushel and his musical style, Uzbek culture, Uzbek folk music, and Soviet influences—is required to create a platform for interpreting the repertoire selected in this study and other Uzbek Soviet music more generally? 2) What performative elements or nuances from Uzbek folk music do performers need that are not represented in the score? 3) How do they acquire these performative elements or nuances? This artistic research uses practice-based methods to investigate these questions. The author’s own experience and knowledge of Uzbek music is a key part of the practice-led process employed to develop recommendations for performance and interpretation of the chosen repertoire. The outcomes of this research have been expressed in two ways: as a written exegesis and as a recorded live performance. A specific outcome of this project is that performers will be able to use the information to gain a better understanding of Mushel’s works and of Uzbek art music generally. More broadly, this exegesis seeks to expand our understanding of the problems posed ii for musicians learning an unfamiliar repertoire in the context of culturally remote music (Uzbek chamber music) and to shed some light on available solutions. This study was informed by the historical context of the music, especially with the performance conventions of traditional Uzbek music. Expanding on what is broadly defined as historically informed performance and the performance practices of 17th- and 18th- century European art music, this study explores Soviet art music in the mid-20th century, in particular, Central Asian (Uzbek) traditions. iii DECLARATION BY AUTHOR This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. iv Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature Conference abstract: Yusupov, K. (2019). Elements of Uzbek folklore and interpretation in the chamber music of Uzbek Soviet composer Georgi Mushel. Fourth Annual Graduate Student Music Conference. The University of Arizona, Tucson. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. Research involving human or animal subjects No animal or human subjects were involved in this research. Translations from Russian and Uzbek to English All works in Russian and Uzbek were translated by the candidate, Khilola Yusupov, with translation and editorial assistance from Teresa Kunaeva. v ACKNOWLEDGEMENTS I owe a great deal of thanks to the members of my supervisory team—Professor Liam Viney and Dr Simon Perry—for their wisdom, encouragement, and insight, which they shared with me over the course of this project. They have been very supportive and patient in directing me through the difficulties of academic research and writing. Their expertise and guidance were invaluable. It has been an honour and a joy to collaborate with a team of gifted musicians: flautists Dr Karen Lonsdale and Emily Salonen, violinist Naira Yusufova, and cellist Renat Yusupov. I am grateful for their musicianship and artistry, which inspired me every time we worked together. Their professionalism, friendship, and willingness to help is greatly appreciated, and I would like to thank them from the bottom of my heart for the opportunities to make music together. I would like to acknowledge the support of Teresa Kunaeva for her proofreading and editing assistance with the final draft of this exegesis. I wish to thank my colleague and friend Dr Phil Doecke for his advice, assistance, and academic support during the final stages of writing this exegesis. I am especially indebted to my colleagues at the State Conservatory of Uzbekistan, Professor Marat Gumarov and Senior Lecturer Utkur Kadirov, for providing me with the video material and other sources of traditional Uzbek music for use in this research. This journey would not be possible without the support and love of my family. I would like to thank my family members in St Petersburg and Moscow, who willingly visited libraries and provided me the material I needed for this project. Deepest thanks especially to: My beloved parents, Bakhtiyar Rustamov and Anna Rustamova, for their wise counsel and sympathetic ear. They continuously encouraged me, diligently prayed for me, and have patiently endured this experience with me; My darling daughter Diana Yusupov who has been my inspiration and support at all times, and particularly whose love and wisdom encouraged me in times of doubt and frustration; and vi My husband, Renat Yusupov—my soulmate, my rock—who shared with me a lot of tears and joy, inspiration and encouragement, throughout this journey, and whose love and friendship I greatly treasure. He is my total support, and without him I would never have reached this milestone. Finally, and ultimately, I raise my voice to sing a song of praise and thanksgiving to my Heavenly Father, whose grace, wisdom, and love enabled me to accomplish this task, and whose power will continue to strengthen me for each task He appoints me. To Him be the glory. vii Financial support This research was supported by a University of Queensland School of Music PhD in Performance School Scholarship (2017), a Nancy Jones Travelling Scholarship (2017), and an R.D. Kitchen Scholarship (2018). Keywords chamber music, Uzbek folklore, influences, interpretation, traditions, ornamentation, rubato, performance Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190407, Music Performance, 100% Fields of Research (FoR) Classification FoR code: 1904, Performing Arts and Creative Writing, 100% viii CONTENTS Abstract ............................................................................................................................. ii Declaration by Author ..................................................................................................... iv Acknowledgements ........................................................................................................
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