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Journal articles on the topic 'Dutār music'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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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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11

Tajetdinova, Sofya, and Erkinay Orınbaeva. "PEDAGOGICAL SIGNIFICANCE OF LEARNING TO PLAY THE MUSICAL INSTRUMENT DUTAR BY NOTE FOR STUDENTS OF MUSIC SCHOOLS OF THE BAKSY DEPARTMENT." MODERN SCIENCE AND RESEARCH 3, no. 1 (2024): 1152–56. https://doi.org/10.5281/zenodo.10604390.

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<em>In this article is discussed the pedagogical importance of teaching the musical</em><em> instrument to the students who are trained in the art of singing in children’s music shools.  </em>

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12

Najmiddinova, Shakhnoza Utkir qizi, and Rasulov Olmas. "A WOMAN IS A SINGER OF THE HEART." Eurasian Journal of Academic Research 1, no. 5 (2021): 38–42. https://doi.org/10.5281/zenodo.5218102.

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This article is about the life and work of Zamira Suyunova, a versatile artist, People's Artist of Uzbekistan, holder of the Order of Labor Glory, who made a worthy contribution to the art of Uzbek national music with her unique work, as well as “Dutorchi girls ”About his creative activity in the ensemble.

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13

Nodira, M. Radjabova. ""MAVRIGI" AS A RARE EXAMPLE OF BUKHARA SINGING ART." Look to the past 5, no. 12 (2022): 3. https://doi.org/10.5281/zenodo.7482949.

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The fact that Moorishness is its own category in the art of Bukhara music and singing is important. In this article, on the basis of various literature and personal communication materials, the problems of our folkloristics composed of "Bukhorcha" and "Mavrigi" songs are scientifically researched. The unexplored aspects of this series from the point of view of historical ethnographic and musicology are revealed as much as possible. Information is provided about the genres of Uzbek and Tajik folklore that have an ancient basis.The essence of the article is that the issues of

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14

Muminova, Zulfiyakhon. "DUTAR IN THE WORKS OF UZBEK COMPOSERS AND BASTAKORS (based on the 21st century)." Central Asian Journal of Art Studies 9, no. 2 (2023). http://dx.doi.org/10.47940/cajas.v9i2.694.

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Abstract. This article focuses on the professional development of the dutar performance school and explores its possibilities. Dutar performance stands out for its extensive repertoire, versatile performance opportunities in traditional and academic contexts, and the diverse range of national performance styles. The instrument enables musicians to learn and perform not only Uzbek and related peoples' folk songs but also works by Eastern and European composers, showcasing the global reach of world music. Similar instruments to the dutar have a widespread presence among the peoples of the Centra

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15

X.Gaybullaeva. "THE DEVELOPMENT OF UZBEK AND KARAKALPAK DUTORS AND THEIR PECULIARITIES." August 4, 2023. https://doi.org/10.5281/zenodo.8213399.

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<em>This article tells about the dutar, which is the Uzbek and Karakalpak national instrument, their history, their types, performance styles, teachers who contribute to the development and introduction of the dutar into the world, and their textbooks<strong>.</strong> </em>

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16

Gurbanova, J., and O. Gujimov. "TRADITIONAL FACTORS AND IMPROVISATION METHODS IN THE PERFORMING HERITAGE OF PURLI SARYEV." International independent scientific journal, no. 53 (August 7, 2023). https://doi.org/10.5281/zenodo.8246053.

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<strong><em>Abstract </em></strong> <em>The article is devoted to the study of the creative activity of the outstanding Turkmen dutarist Purli Sariyev. High professionalism, impeccable mastery of the traditional form and technique of creating dutar works, improvisational gift and innovative approach used by the Turkmen dutarist in line with traditional dutar performance contributed to the creation of an individual stylistic direction in the Turkmen dutar art, called the school of Purli Sariyev. The analytical studies carried out in the article, aimed at characterizing the performing style of P

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17

Мамазияев, Хуршиджон Аъзамжон ўғли. "THE EVOLUTION OF MUSICAL INSTRUMENTS IN THE ART OF MAQOM." June 15, 2022. https://doi.org/10.5281/zenodo.6646806.

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<em>This article discusses the leading musical instruments of the period, such as oud, tanbur, dutar, tor and doira, and their evolution in the practice of performance. The level of popularity of these instruments among the people and the style of performance were also mentioned.</em>

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18

A.Isroilov. "THE ROLE OF INSTRUMENTAL SCIENCE AND INSTRUMENTALISM IN THE DEVELOPMENT OF UZBEK MUSIC." June 24, 2022. https://doi.org/10.5281/zenodo.6717831.

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<em>The article highlights the importance of music and harmony in the development of Uzbek music. One of the priorities in strengthening the foundations of the Third Renaissance in New Uzbekistan is to instill in the younger generation a sense of national pride and respect for national values.</em>

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19

A.Isroilov. "THE ROLE OF INSTRUMENTAL SCIENCE AND INSTRUMENTALISM IN THE DEVELOPMENT OF UZBEK MUSIC." June 24, 2022. https://doi.org/10.5281/zenodo.6727266.

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<em>The article highlights the importance of music and harmony in the development of Uzbek music. One of the priorities in strengthening the foundations of the Third Renaissance in New Uzbekistan is to instill in the younger generation a sense of national pride and respect for national values.</em>

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20

Дилнозахон, Обиджановна Абдурахмонова. "SCIENTIFIC-THEORETICAL AND METHODOLOGICAL BASIS OF ORGANIZING INSTRUMENT ENSEMBLES." October 27, 2022. https://doi.org/10.5281/zenodo.7256697.

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<em>This article discusses the methods of organizing ensemble teams and their activities in the art of music.</em> <em>Also, ways of using instruments in groups and in the process of playing in harmony are widely covered.</em>

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21

Юнусова, В. Н. "Redzep Allayarov – East Pupil of Alfred Schnitke." Музыковедение, no. 3 (March 14, 2019). http://dx.doi.org/10.25791/musicology.03.2019.544.

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Статья впервые в российском музыкознании специально посвящена жизненному и творческому пути современного туркменского композитора Реджепа Аллаярова (1935–2018) – единственного ученика по композиции Альфреда Шнитке. Он уже в советское время на практике осуществил слияние особенностей музыки Востока (туркменской, азербайджанской) и западных композиторских техник XX века. В творчестве Аллаяров отдал дань нескольким направлениям современной музыки: от авангарда до неофольклоризма, значительно опередив свое время. Композитор не пользовался, за исключением одного случая, прямым цитированием народной

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22

SABİROVA, Nasiba. "The Period of Development of Khorezm Minstrel Traditions." ULUSLARARASI TÜRK LEHÇE ARAŞTIRMALARI DERGİSİ (TÜRKLAD), June 3, 2022. http://dx.doi.org/10.30563/turklad.1069020.

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This article discusses the latest developments in the art of minstrel. It is also known that the parishioners in Khorezm were a form of shamanism and shamanism was one of the earliest stages in the formation of the art of bakhshi. In particular, the article emphasizes that in the researches of A. N. Samoilovich the Khorezm bakhshis sang book epics, played the dutar, bulamon. The deification of the Bakhshi people is due to their high memory and the fact that they have a word. It is believed that the recitation of epics by drummers dates back to the 10th and 11th centuries. This phenomenon may b

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23

Sabirova, Nasiba Ergashevna. "LATEST DEVELOPMENT OF THE ART OF BAKHSHI IN UZBEKISTAN." August 28, 2021. https://doi.org/10.5281/zenodo.5304029.

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This article discusses the latest developments in the art of <strong><em>bakhshi</em></strong> (<em>bakhshi is a folk singer, performer of folklore among the Turkic peoples of Central Asia, usually performs at holidays</em>). It is also said that the parishioners in Khorezm were a form of shamanism, and that shamanism was one of the earliest stages in the formation of the art of bakhshi. In particular, the article emphasizes that in the research of A.N.Samoylovich Khorezmbakhsh is sang book epics, played dutar, bulamon, and noted that the XIX and early XX centuries were the most prosperous per

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24

L.Muxammetdinova. "THE DEVELOPMENT OF THE ART OF GIVING IN NORTHERN PAKISTAN AS AN EXAMPLE OF THE YEARS OF INDEPENDENCE." October 5, 2023. https://doi.org/10.5281/zenodo.8409358.

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<em>The development of BARD ART in Karakalpakistan and its spiritual and educational effect on young learners. The article deals with the information about musical instruments of Karakalpak people. It informs about one of the most beautiful instruments which have irresistible sound – a lute. And provides suggestions for developing factors of national traditions.</em>

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