Multistring Instruments in the Music Culture of the Oriental Countries

Section 3. Musical arts

Список литературы: 1. Земцовский И. «Мелосфера Мусоргского – его неизвестная родина», Музыкальная академия, – 2012 г. – № 3. – С. 30–35.

DOI: http://dx.doi.org/10.20534/EJA-16-3-50-52 Ergasheva Gulchehra Turobovna, Senior researcher of the State Conservatory of Uzbekistan E-mail: [email protected] Multistring instruments in the music culture of the oriental countries Abstract: The role of national musical instrumentchang over the practice and originality of sound during playing it. The resemblance of stringed instruments in the Eastern culture. The development of, theoretical and practical progress of them. In Uzbek, Tajik, Uighur civilizations — chang, cheng; In Iranian, Indian, Turkish, Azerbaijani civilization — santur; In Bury, the Mongolian — yochin; In China — shanzu, yochin (yangin) and resemblance instruments of such national instruments: • forms the basis of the standard instruments of the trapezoid shaped box; • glory of control devices which is wired up and the top cover on a bench inside; • sing to the implementation of the instruments using a pair of arrows; • musical aspects and features in common propensity to percussion stringed instruments group, to decrease toward the top of the long strings. And the modern instruments of the past location of devices on a bench inside the sound line systems and components (minor) differences, adapt to each national musical tones and originality. The importance of many stringed instruments in national music culture, solo or accompaniment playing it, equality implementation principles, achievements and shortcomings. Кеуwords: traditional performing, fine art, multistring instruments, santur, kanun, Oriental countries, string — percussion instruments, writing source. Musical instruments are the product of the tra- – yatugan, anqo (anqa), mugna, qanun (qolun), ditions of the material and spiritual heritage devel- shaxrud, mi’azafa, santur are instruments in which oped over the centuries of music thinking. Different the resonator box is the basis and strings are placed century of musical instruments created in the land over the top. of social changes at different times were reflected in The performance style of these instruments var- the pages of literary and fine arts. Especially the ex- ies depending on the requirements of the period. Ini- istence of multistring instruments being complex in tially, these instruments were sounded with fingers terms of construction and performance style are the and then by mediator made of various materials, tal- proof of the high human intelligence. ented performers of their own time experienced to Development of simple stringed instruments has practice in complex combination method (palms of led to creation of multistring instruments that as sanj, the hands, and at the same time playing with media- shalyok (salyok), andaruy, egri, chang, chiltor are harp tor) of execution. The appearance of lively and noisy like instruments with strings between two frame; music was the cause for the music sounds to sound

50 Multistring instruments in the music culture of the oriental countries more sonorous. At the same time, the development They are used today in Egypt, the traditional arab in- of a new method of sound production (execution of struments santur (pisantir). This instrument consists musical instrument by using sticks) in music prac- of three triangle-shaped wooden boxes, metal strings tice is not likely to be a sup rise. stretching the ears and on the left side of the box us- A certain period of “shepherd” blowing has ing a pair of wand struck the harp playing” [4]. emerged as the only performance style, especially Data musical form three corners, it reminds us as the method used to hear melodies can be ex- of the kanun in Egypt and the Arab nation, and per- pected. Fine art Shepherd playing with multi- formance style of play, santur producing sound in- stringed instruments, sufficient information about struments using wand. Perhaps the appearance of the sources of these instruments and the lack of the instruments sound like outdated in different clear evidence of it. For example, the medieval ways, depending on the method of moving pictures scholar al-Sheraziy the Seleucid period (BC. 312– (during playing mediator kanun, even the shep- 64y. y.) musical instruments classification, thesan - herd was shot chiming santur). This situation can tur musical language: be seen in the sato and tanbur, instruments (which 1. Percussion instruments — kus (big drum), form a homogeneous musical chickpeas was execut- tabira, tablak, jaros (charos), doyra, nagara, gong, da- ed “tanbur”, referred to as the deficit was executed roy, daff, doul,, jom (motionless bell), dumbak, sanj, Castle). tabira etc. A string-percussion instruments in the same pe- 2. Stringed instruments — ud, chang, kanun, dar, riod, the Chinese chang is present Ibn Zayla (XI), “A vin, vinkanor, nayi tanbur, santur (dulcimer), rebab (ra- book full of music”. Classify he musical instruments, bab), gijjak, shushak, tambur, nokus, rud, shamoma etc. strings — percussion instruments group, the exam- 3. Wind instruments — karnay, sunray, nay, du- ple shows the chinese chang: nay, burgu, koshnay, nayi anbon etc. [3]. 1) string, fret pizzicatos instruments ud and tanbur; Nowadays, santur string — percussion instru- 2) string instruments, unfret sound by the differ- ments, but this is a musical form that time, its perfor- ence between long and short strings sanj and shah- mance possibility unknown to us. However, Salivate rud etc; state in the same period in Mesopotamia, Central 3) string instruments, unfret sound by the dif- Asia, taking into account that it is countries such ference between string and support defined by the as Iran and Afghanistan santur music can serve as reduction or extension of the instruments by means a basis to say that the Orient countries. Later, san- of a bench anko etc; tur appearance of fiction it shows the application in 4) string instruments, hammer, struck with wand the same period. For example, Ahmad ibn Kavus chinese chang [2]. Domg’aniy Manuchehriy (XI), santur although a few In fact, if applied to Chinese sources, Sima Tsyan have mentioned, its shape, spoke about the singing. historical reference works, previous Jung-string per- Poet enumerate instrumentalists name along with cussion instrument called the names of the musicians the list, who played the santur nokus, tanbur, flute. who play it. There is also the name of the founder of XIV–XVII centuries, medieval scholar Dervish the Han dynasty, including Ayu Ban. I–II centuries, Ali Changi his musical treatise by sophisticated in- “chju string — percussion instruments,” Sho-ven as struments of Turkish ambassadors in Bukhara it’s all dictionaries, Tan Dynasty (618–907) during the pe- the luxury and since that time has provided informa- riod mentioned in this musical orchestra included in tion about not meeting these instruments. Santur ap- the ranks of the palace [1]. pearance, performance style still remain a mystery. Historically, this period Bactria China and In- A. S. Famintsin information provided by these in- dia over the last convoy of international trade and struments will clarify a little bit. According to it, in cultural ties through the animated played an im- his last campaigns of the Crusaders (1096–1219) portant role. Perhaps, as a result of this relationship met with a number of Orient musical instruments. long before santur instruments available to go into

51 Section 3. Musical arts the Chinese magnanimous, chju, yansin, yonchin, as • Glory of control devices — there are going to yochin starts playing the national title. The root of wire up and cover the top of the bench; the word ‘yan, a Chinese foreign, overseas means • Sing and play instruments using a pair of arrows; Western countries are also the evidence. • Musical aspects and features in common — Based on the latest research and resources, we can string — percussion instruments group. say that the process of string and percussion instru- However, each nation has its own national lan- ments popular at least since the sixteenth century. guage, a dialect related to this musical instrument Development has created in their various forms for or as individual components, orderly-sound system, forms, the abundance of musical chords; the pres- the location of the bench, playing different styles. ence of a wooden bench inside the box cover over This is a musical adaptation of national tunes and the top of the musical device is always preserved. similarities. Relations between the countries in various (po- Today, string — percussion instruments en- litical, diplomatic, cultural), of the gifts bestowed sembles and orchestras or constant as well as devel- upon a change in their appearance, and as a result opment. In particular, the Uzbek national musical will be the development of the western and eastern performance as a wide range of options, in which countries with different names. Uzbek, Tajik, Uighur dust is not only tunes, but also large samples of people, chang, chyong’; Iran, India, Turkey, Azerbai- classic works of world classical composers for the jan — santur; Burying and Mongolia — yochin; dust created by the execution of the works. Par China — chang, shanzu, yonchin etc. Despite this string — percussion instruments always develop- related instruments belonging to various nations, ment, the creation of new performance style of their national and mutual commonality: execution, melodies improvement, has led to the • Forms the basis of the criterion of instruments development of the performing arts of the peoples towards the top of the trapezoid-shaped box and a of the Orient. long string of decreasing; References: 1. Alendr I. Music instruments of Chine. – Moskov. – 1958. 2. Aripov Z. The Orient musical source (X–XIc.) – Tashkent – 2008. 3. Dadajanova I. «Musical education of Kutbiddin ash-Sherazi». – Tashkent – 2004. 4. Jinovich. I. School for Belarus cymbal. – Minsk – 1948.

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