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Relevant bibliographies by topics / Dutār music

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Academic literature on the topic 'Dutār music'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Dutār music"

1

Baily, John. "Amin-e Diwaneh: the musician as madman." Popular Music 7, no. 2 (1988): 133–46. http://dx.doi.org/10.1017/s0261143000002713.

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While engaged in research on the long-necked lute called Herati dutār in 1974, I was frequently told about a virtuoso dutāri (dutār player) who had died a few years earlier after a fight with a gang of ‘thugs’ in the city of Kandahar. His name was Amin-e Diwaneh. The Persian word diwāneh means ‘crazy’, and was applied to people who (in terms of Western psychiatry) might be classed as ‘insane’, though the cause of insanity was usually attributed to spirit possession. Diwāneh was also a description for individuals who were particularly erratic in their behaviour, and was often used affectionatel

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2

Mirzaolimova, Gulshanoy. "THE ROLE OF DUTOR IN UZBEK TRADITIONAL MUSIC PERFORMANCE." MODERN SCIENCE AND RESEARCH 3, no. 1 (2024): 293–98. https://doi.org/10.5281/zenodo.10500943.

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<em>The article describes the performance of Uzbek traditional music, the musical culture of the Uzbek people, classical folk music, dutor and its history, the process of creation, the ancient dutor, its strings, types of dutor, dutor created for men, created for women. dutors, important aspects of the dutor word, four main local styles, "Dutor" - the most favorite musical instrument of the peoples of Central Asia.</em>

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3

Rashidovna, Isaeva Nigora. "IMPROVING THE PERFORMANCE SKILLS OF FUTURE MUSIC TEACHERS ON THE DUTOR INSTRUMENT." European International Journal of Pedagogics 4, no. 12 (2024): 114–17. https://doi.org/10.55640/eijp-04-12-25.

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This article highlights the role and importance of developing performance skills in the educational process of future music teachers using the dutor instrument. The specific methodological aspects of dutor performance, its pedagogical capabilities in the formation of creative skills are analyzed. The article also recommends effective methods for preserving the national cultural heritage and teaching it to the younger generation through the dutor instrument. Practical recommendations and the advantages of using innovative pedagogical technologies in scientific work are also indicated.

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4

Durdona, Shodmonova. "Khorezm Dutor Moments." American Journal of Applied sciences 03, no. 04 (2021): 199–202. http://dx.doi.org/10.37547/tajas/volume03issue04-27.

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Issues related to the classical samples of Uzbek classical music heritage occupy one of the leading places in the modern music culture. In this regard, among the Bukhara Shashmakomi, Fergana-Tashkent status roads, Khorezm status categories, Dutor status, in our opinion, are of great interest. In particular, the study of the generality and differences in the interpretation of their old rare and diverse new performance, in full case or in the recording of parts into a note, is of paramount importance. This article is about the status of Khorezm

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5

Gurbanova, J., and O. Gujimov. "GENRE AND STYLE FEATURES AND PRINCIPLES OF SHAPING OF TURKMEN DUTAR MUSIC." Slovak international scientific journal, no. 74 (August 8, 2023): 31–39. https://doi.org/10.5281/zenodo.8223355.

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The purpose of this article is to identify the formative foundations and genre and style features of the Turkmen dutar saz (instrumental folk piece). For this purpose, more than 150 dutar pieces were analyzed, which made it possible to identify stable features that determine the compositional structure and genre features of the instrumental music of the Turkmens. In order to identify the principles of formation in Turkmen music, we, along with traditional terminology, needed the introduction of special terms that made it possible to adequately characterize the functions of compositional sectio

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6

Baltayev, Umid Rustamovich. "The Role And Importance Of Using Dutor As Makom Instrument In Developing Students’ Aesthetic Qualities At Specialized Music Schools." American Journal of Interdisciplinary Innovations and Research 03, no. 05 (2021): 18–22. http://dx.doi.org/10.37547/tajiir/volume03issue05-04.

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This article provides information about the role and importance of the dutor in developing the moral aesthetic features of the students at specialized music schools through the use of dutor as makom instruments.

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7

Jumabayev, Ogobek Otabek ugli Rakhimov Botir. "THE ROLE OF KHORAZM DUTOR MAKOMS IN UZBEK MUSIC CULTURE." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 6 (2023): 1114–17. https://doi.org/10.5281/zenodo.8068113.

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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.

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8

Khandamian, Victor, and Abdulaziz Khasanov. "Building a Library of Samples (Kontakt) of The Uzbek Traditional Dutar." Eurasian music science journal, no. 1 (May 30, 2021): 45–52. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/53.

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Sample libraries are one of the most popular music technologies in the modern world for the recreation of instruments in the digital environment.Sample library development is a rapidly growing branch of music technology. This article examines the stages of creating a library of a traditional Uzbek dutar. Particular attention is paid to methods for achieving realistic instrument sound in the digital field.

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9

Choriyev, Mirjalol G'ayrat o'g'li. "FOLK NATIONAL INSTRUMENTS." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (2022): 400–404. https://doi.org/10.5281/zenodo.6303214.

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In this article you can see a description of our national instruments. Attempts have also been made to shed light on the extent to which the sounds emanating from the dutar can affect a person. The soundtrack of the traditional dutar is also illuminated.

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10

Baily, John. "John Blacking and the “Human/Musical Instrument Interface”: Two Plucked Lutes from Afghanistan." European Journal of Musicology 23, no. 1 (2025): 137–52. https://doi.org/10.5450/ejm.23.1.2025.137.

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Blacking’s theories about music structures and the physical movements in their performance –– Baily’s experimental work on motor control in pointing at visual targets –– ethnomusicological research on playing two Afghan lutes (dutar and rubab) with radically differing linear and tiered arrays of note positions –– learning to perform as an ethnomusicological research technique –– how the typical repertoires of the two lute types are related to the spatial distribution of note positions.

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Books on the topic "Dutār music"

1

Mylly Tachmuradov. Sovetskiĭ kompozitor, 1986.

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2

Merchant, Tanya. Ancient Treasures, Modernized. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0003.

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This chapter examines the role of women in the arranged folk music in Uzbekistan in the post-Soviet era. It looks at the rhetoric of Ro'za opa and her students, which focuses much more on musical literacy, virtuosity, and international standards. These priorities stem from the emancipatory impetus, during the Soviet period, to include women in the ethnonational project of creating folk orchestras. The chapter begins with a discussion of the assumptions of youth and femininity associated with certain dutar ensembles. It then traces the origins of dutar ensembles as they share history with simil

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3

Merchant, Tanya. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0001.

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This book explores issues of gender performance and national identity as they are personalized and individualized and then themselves performed by women musicians of Uzbekistan. It considers the rich relationship that dutar music has with women's culture and history in Uzbekistan but shows that the performance of national identity, of femininity, and of a sense of tradition that engaged the modern world was not limited to the dutar but encompassed a wide range of professional musical activities. The book demonstrates the central place of women in the musical project of nationalism, not only as

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Merchant, Tanya. Beyond the Canon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0002.

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This chapter examines traditional music as a means to construct a cohesive pre-Soviet past in Uzbekistan. Traditional music encompasses three maqom traditions with roots in cities that currently exist within the borders of Uzbekistan: Xorazm maqom, Shashmaqom, and Tashkent-Ferghana maqom. The chapter first considers the history of the construction of the canon of traditional music in Uzbek institutions before discussing traditional music and maqom's links to nationalism in the city of Tashkent. It then looks at women's roles performing the great works in the maqom tradition, along with two mas

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