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Journal articles on the topic 'Shashmaqom'

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1

Ibragimov, Abdupatto Akhmadjonovich. "DEPARTMENT OF SHASHMAKOM AYTIM (PROSE) AND TRADITIONS OF TEACHER-DISCIPLINE." « Zamonaviy dunyoda tabiiy fanlar: Nazariy va amaliy izlanishlar» nomli ilmiy, masofaviy, onlayn konferensiyasi 1, no. 21 (2022): 13–16. https://doi.org/10.5281/zenodo.7049528.

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This article provides detailed information about the sayings of the shashmaqom, the song section of the shashmakom, the division of the Bukhara maqom called “prose” into groups, and the tradition of the master-disciple in the performance of the makom.
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2

Hamroyev, Akmal. "SHASHMAQOM NASHIDASI." CENTRAL ASIAN JOURNAL OF EDUCATION AND INNOVATION 2, no. 6 (2023): 22–24. https://doi.org/10.5281/zenodo.8017313.

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Qadim merosga ega bo‘lgan Shashmaqom san‘ati va ahamiyati, ijodiy tafakkuri bilan sayqal topib kelayotgan  maqom san‘ati haqida fikr yuritiladi. Ushbu maqolada  musiqiy merosimizni avaylab-asrab kelajak avlodga  etkazish bo‘yicha qimmatli fikr-mulohazalar bildirilgan.  
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3

Jo'rayev, Suhrot Jumanazar o'gli. "AESTHETIC AND EDUCATIONAL POSSIBILITIES OF INSTRUMENTAL WORKS IN SHASHMAQOM." THEORETICAL ASPECTS IN THE FORMATION OF PEDAGOGICAL SCIENCES 1, no. 6 (2022): 196–201. https://doi.org/10.5281/zenodo.7333072.

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In this article, the importance of Shashmaqom's works in shaping the aesthetic and educational aspects of students of general secondary education, as well as the scientific-theoretical features of Shashmaqom's musical method are highlighted.
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4

Halimov, SHerzod SHaxriddin o'g'li. "SHASHMAQOM MUSHKILOT BO'LIMINING NAZARIY ASOSLARI." Educational Research in Universal Sciences 2, no. 4 (2023): 1038–40. https://doi.org/10.5281/zenodo.7934749.

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Ushbu maqola o‘zbek xalqiningbebaho oltin xazinasi hisoblangan “Shashmaqom” saboqlari xususida so‘z boradi. Shuningdek, Shashmaqomning cholg‘u qismlari borasida ilmiy-nazariy fikr va mulohazalar atroflicha maqolada aks etadi.
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5

Ramazonova, Oghiloy Kholmurodovna. "HISTORICAL ROOTS OF SHASHMAKOM." Multidisciplinary Journal of Science and Technology 5, no. 1 (2025): 452–56. https://doi.org/10.5281/zenodo.14766712.

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6

Ibrohimov, Azizbek Ismonjon o'g'li. "SHASHMAQOMNING VUJUDGA KELISHI TARIXI." Educational Research in Universal Sciences 2, no. 2 (2023): 16–20. https://doi.org/10.5281/zenodo.7702008.

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Ushbu maqolada O‘zbek  milliy san’ati ustuni bo‘lish maqom, o‘n ikki maqom, shashmaqom san’atlarining vujudga kelishi tarixi haqda haqida yozma manbalar asosida yoritildi.
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7

Yulchieva, Munodjat. "Shashmaqom as musical treasure-box of Uzbekistan." Interactive science, no. 8 (October 20, 2016): 25–26. http://dx.doi.org/10.21661/r-113598.

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8

Kambarov, Abdumutal Akhadjonovich. "IN THE DEVELOPMENT OF THE ART OF STATUS ON THE ISSUE OF THE PLACE OF BUKHARA JEWS." INTERNATIONAL BULLETIN OF ENGINEERING AND TECHNOLOGY 3, no. 6 (2023): 241–46. https://doi.org/10.5281/zenodo.8073134.

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The article scientifically and philosophically analyzed that, along with the Uzbek makomdons, Bukharian Jews, as well as the work of hafiz, musicians and composers who are masters of their craft, make a worthy contribution to the improvement of shashmaqom to this day.
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9

Tо'rayev, Qahramon Fayzullayevich. "BUXORO MUSIQA MAKTABINING O'ZIGA XOSLIGI." ZDIT 2, no. 21 (2023): 31–33. https://doi.org/10.5281/zenodo.8106918.

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Maqolada XX asrning boshida tashkil etilgan Buxoro musiqa maktabining о‘zbek milliy musiqa san’ati rivojidagi о‘rni tahlil qilingan. Shashmaqom san’atini о‘rganish, uni notalashtirish, kelajak avlodga asl holatida yetkazish yо‘lida qilingan harakatlar tо‘g‘risida ilmiy xulosalar berilgan.
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10

Bohi Gim Ban. "An Analytical Study on Uzbekistan Shashmaqom, Instrumental Prelude Mushikilot." Music and Culture ll, no. 29 (2013): 181–212. http://dx.doi.org/10.17091/kswm.2013..29.181.

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11

Tursunov, Khurshid Abdurayimovich. "ON THE HISTORY OF THE EMERGENCE OF “MAQOM” OR “SHASHMAQOM”." Theoretical & Applied Science 80, no. 12 (2019): 60–64. http://dx.doi.org/10.15863/tas.2019.12.80.12.

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12

Gаfurovnа, Аlimovа Zumrаdkhan. "THE PLACE AND SIGNIFICANCE OF SHASHMAKOM IN MUSIC CULTURE." International Journal of Pedagogics 4, no. 10 (2024): 26–30. http://dx.doi.org/10.37547/ijp/volume04issue10-05.

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This article examines the role and importance of Shashmakom in the musical culture of Uzbekistan and Tajikistan. Shashmakom, with its complex structure, rhythmic rules and diverse performance styles, represents the musical heritage of the peoples of Central Asia. The article analyzes such aspects as the historical development of Shashmakom, the status system, its place in folk culture, and its influence on modern artists. Also, the inclusion of shashmakam in the list of the unofficial cultural heritage of humanity by UNESCO is specially recognized. The importance of Shashmakom in musical culture plays an important role not only in art, but also in the formation of national identity and spirit.
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13

Sharakhmetov, Shamakhmud. "DEVELOPMENT OF NATIONAL INSTRUMENTAL PERFORMANCE TRADITIONS IN THE WORKS OF COMPOSERS." American Journal of Interdisciplinary Innovations and Research 6, no. 11 (2024): 238–41. http://dx.doi.org/10.37547/tajiir/volume06issue11-19.

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This article discusses the role of composers in Uzbek national music, their brief biographies, and their creative work. It covers works written in the genre of Shashmaqom, as well as the main functions of composition in Uzbek national music. The article also examines the contributions of master musicians and composers to the performance of maqom and their significant role in maqom instrumental performance. Additionally, the article reflects on the development and essence of Uzbek national classical music in the context of composition.
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14

IBROHIMOV, OQILXON AKBAROVICH. "On the tarikat method in the instrumental music of the Bukhara Shashmakom." Euro Afro Studies International Journal, (EASIJ.COM), 3, no. 1 (2021): 1–12. https://doi.org/10.5281/zenodo.4534077.

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In the Middle Ages, the Arabic word &ldquo;makom&rdquo; was enriched with another meaning - it symbolized the path to self-improvement, more precisely, the stages of spiritual perfection. &nbsp;It acquired this meaning largely thanks to the Sufi teaching (at-tasawwuf) about the perfect person, which at that time was widespread among the most diverse strata of Muslim society and had a strong influence on artistic creativity. In particular, the ideas of sufizm were reflected in oral folk art, in classical poetry, the art of book miniatures, architecture and classical music. Music occupies a special place in this series: maqom seeds are a kind of musical embodiment of the steps of cognition. The ideological basis of his philosophical wisdom is primarily the teaching of the tasavvuf about the perfect man. <strong>Keywords: </strong>maqom, theme, tariqat, Central Asia, anemitonics, Shashmaqom, tradition, muskilot, nasr, tanbur, doira, usul,&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;
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15

Azizov, Fayoz Samiyevich. "SHASHMAKOM FOREVER." European Journal of Arts, no. 1 (2023): 64–70. http://dx.doi.org/10.29013/eja-23-1-64-70.

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16

Shadmanova, Nodira Ismatullaevna. "SCIENTIFIC AND HISTORICAL SIGNIFICANCE OF THE BOOK BY ABDURAUF FITRAT "UZBEK CL T "UZBEK CLASSICAL MUSIC AND I ASSICAL MUSIC AND ITS HISTORY"." Scientific Reports of Bukhara State University 4, no. 5 (2020): 292–98. http://dx.doi.org/10.52297/2181-1466/2020/4/5/4.

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Background. Makoms form the basis of the music of the peoples of the East. Therefore, a comprehensive study of the status is important in the history of our musical culture. Shashmakom consists of about two hundred and fifty melodies and songs and is a significant part of the musical heritage of the Uzbek-Tajik people. The article is dedicated to the essay of Abdurauf Fitrat entitled “Uzbek classical music and its history”, dedicated to the analysis and translation of classical eastern music and song tradition Shashmakom which consists of about two hundred and fifty melodies and songs, and is a significant part of the musical heritage of the Uzbek-Tajik people. The problem of Shashmakom is one of the least studied areas in the history of our musical culture, and the author gives his own interpretation of the solution to this issue.
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17

Saydullayeva, Gulzoda. "BUXORO SHASHMAQOMINING SHAKLLANISH TARIXI." Innovations in Science and Technologies 1, no. 1 (2024): 69–71. https://doi.org/10.5281/zenodo.10815761.

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18

Bexruz, Hamidovich Boltayev. "The content and methodology of the process of establishing the voice of students in singing." МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ: ТЕОРИЯ И ПРАКТИКА 2, no. 2 (2024): 179–88. https://doi.org/10.5281/zenodo.10658374.

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Diapazon ham ovoz turini aniqlovchi belgilardan biridir. Biroq u o&rsquo;quvchida doim ham to&rsquo;la hajmda ifodalanmasligi mumkin. Ko&rsquo;pincha u chegaralangan bo&rsquo;ladi. Ba"zi hollarda uchraydigan &ldquo;metso soprano&rdquo; va &ldquo;soprano&rdquo; tonlarini o&rsquo;z ichiga olgan, nihoyatda keng diapazon ham foyda bermaydi. Ovozni to&rsquo;g&rsquo;ri tasnif qilishda registr tuzilishini o&rsquo;rganish yordamchi vositadir
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19

Qambarov, Abdumutal Ahadjonovich, and Mavluda Mamasodikovna Najmetdinova. "The Role Of Bukhara Jews In The Development Of Natiaonal Makom Art." American Journal of Social Science and Education Innovations 03, no. 04 (2021): 747–53. http://dx.doi.org/10.37547/tajssei/volume03issue04-120.

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This article analyzes from a scientific and philosophical point of view that the Jews of Bukhara, along with the Uzbek makoms, have made a worthy contribution to the development of Shashmakom to this day through the work of masters of their profession, hafiz, musicians and composers.
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20

Kaztuganova, A. Zh. "Innovative methods in the study of kazakh dombra art." Keruen 74, no. 1 (2022): 295–306. http://dx.doi.org/10.53871/2078-8134.2022.1-23.

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The article characterizes the works of foreign and domestic scientists in the field of musicology, which are devoted to the traditions of improvisation; in particular, dombra art, analyzes the current issues of scientific research, and reveals the novelty of analysis methods and main conclusions. The purpose of the study is to solve theoretical issues of music, to present an innovative system through the concretization of methods and techniques used in the understanding the specifics of the works which are chosen as objects in the framework of the problems being developed. New methods included in the scientific works of the leading representatives of the art history on the issues of innovative musicology are presented. The received hypotheses have been confirmed, the collected materials have been systematized. The practice of studying the art of song, kuy, zhyr, which form the basis of Kazakh traditional music, in connection with monodic cultures, is reflected in the works of domestic researchers. So, A.I.Mukhambetova, emphasizing the issues that go back to the nature of the Kazakh kuy, analyzes the features of correlation of subsections (vocal, instrumental) in the structure of shashmaqom and kuy, fixes the commonality of rhythmic units, compares specific terms, L.Ya.Kopbayeva, noting the correspondence of the concept “maqam” of the modal and genre spheres, shows the dependence of the genre designation in kuy on the modal structure, R.T. Nesipbai, based on the works of scientists who studied the theoretical foundations of monody (Yu.plakhov, S.Galitskaya, T. Djani-Zade, T. Osina, L.Khaltaeva and others), studies the structure and composition of the kuy in the context of bourdon polyphony and oriental monody. Since the Kazakh musical art is based on the traditions of improvisation, the works of the same name from the of Kazakh kuys and issues of systematization in artistic culture were chosen as the basis for the study. It is emphasized that, having presented the systematization of internal factors in the study of maqom as the main genre of monodic culture, T.B.Gafurbekov, in fact, opens up new opportunities for solving complex problems that generate discussions, in particular, in determining the essence of the “genre”. The specificity of the "triple factor", which is reflected in his theoretical concept, led to a new formulation of the issues and systematization of categories, determined by the immanent nature of the Kazakh kuy art. In the process of classification (based on internal parameters), the specifics of improvisational art and the development line of the performing traditions in the creativity of the kuishi were taken into account. As a result, the significance of such characteristics of the Kazakh kuys as cyclicity, variations, situational and regional specifics was determined. The proposed system allows solving problems that relate to the categories of "genre" and "style" involved in the study of the Kazakh kuys.
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21

Ozoda, Suvonova. "THE ART OF STATUS." Multidisciplinary Journal of Science and Technology 4, no. 5 (2024): 601–4. https://doi.org/10.5281/zenodo.11424303.

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In this article, the history of the development of status art and its development today, issues such as studying it and teaching status art to the younger generation today, attention to status art and status in Uzbekistan Information about the measures being implemented for the development of art, "Maqom Festival" held in Shahrisabz city.<strong> </strong>
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22

Mansurovich, Ibragimov Bobir. "NOTATION OF COMPLEX EXAMPLES OF UZBEK MUSICAL HERITAGE." European International Journal of Pedagogics 4, no. 12 (2024): 21–23. https://doi.org/10.55640/eijp-04-12-04.

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This article studies the issues of notating complex forms of Uzbek musical heritage. The article analyzes the importance of restoring the rich traditions of national musical culture through modern technologies and musical notation methods and passing them on to future generations. The article also discusses the problems encountered in notating complex melodies and songs, their technical and theoretical solutions. During the study, the process of notating musical samples of high artistic value, such as shashmakom and maqomnavo, and creative research based on them were also considered. This work, along with introducing new theoretical approaches to musicology, is of practical importance in preserving musical heritage.
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23

Sahodat, B. Murtazova. ""MAKOM" FESTIVAL - A NEW STAGE OF INTERNATIONAL CULTURAL COOPERATION." LOOK TO THE PAST 5, Special issue 3 (2020): 48–53. https://doi.org/10.5281/zenodo.6582923.

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The article summarizes information about the first international festival &quot;Makom&quot;, about the Uzbek national musical heritage, as well as about the regulatory documents adopted for the development of the industry. They also analyzed materials about the traditions of status and the activities of status representatives that have formed over the centuries in different regions of the country.
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24

Kholmirzayeva, Feruza Mamaraim qizi, Erkin Amanovich Khojageldiyev, and Jasur Nasriddin oglu Chorshanbiyev. "TRADITIONAL SINGING AND TRADITIONAL MUSIC SKILLS." EURASIAN JOURNAL OF LAW, FINANCE AND APPLIED SCIENCES 2, no. 2 (2022): 206–10. https://doi.org/10.5281/zenodo.6340050.

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In this article, I will focus on the art of maqom, one of the oldest forms of art.prose and difficulty categories are given. Music from ancient art from its own process with the social life of mankind to the present day continues to form depending on. There is great work to be done in its development the ground for the future.
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25

Karimova, E'zoza Nuriddin qizi. "SOHIBQIRON SALTANATIDA MADANIYAT VA SANʼATNING OʻRNI". Yosh Tadqiqotchi 1, № 2 (2022): 286–89. https://doi.org/10.5281/zenodo.6407754.

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Ushbu maqolada Amir Temur shaxsiyati, uning markazlashgan davlatga asos solishi, shuningdek Amir Temur davlatida sanʼat va madaniyatning gullab yashnashi, xususan, bu davrda maqom sanʼatining rivojlanishi , Temurning sanʼat ahliga koʻrsatgan beqiyos&nbsp; homiyligi&nbsp; haqida maʼlumotlar keltirib oʻtilgan. Yosh avlodni&nbsp; Yangi O&lsquo;zbekiston va Uchinchi Renessans g&lsquo;oyalari ostida tarbiyalashda shonli tariximizdagi buyuk siymolarning o&lsquo;rni va&nbsp; ahamiyatiga urg&lsquo;u berilgan.
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26

Fujie, Linda. "Central Asia in Forest Hills, N. Y.: Music of the Bukharan Jewish Ensemble Shashmaqam." Yearbook for Traditional Music 25 (1993): 192. http://dx.doi.org/10.2307/768723.

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27

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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28

Karimov, Mansur Muxammedovich. "INTRODUCING STUDENTS TO THE ART OF NATIONAL STATUS IN MUSIC CLASSES." МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ: ТЕОРИЯ И ПРАКТИКА 2, no. 3 (2024): 186–96. https://doi.org/10.5281/zenodo.10828531.

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maqolada&nbsp;&nbsp; umumiy o&lsquo;rta ta&rsquo;lim maktabi musiqa darslarida o&lsquo;quvchilarni maqom san&rsquo;ati bilan tanishtirishning ahamiyati, o&lsquo;qituvchining mahorati, maqom san&rsquo;ati namunalariga qiziqtirishning usul va vositalari haqida mulohazalar yuritiladi.
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29

Kirgizov Iqboljon Imyaminovich. "THE RISE OF AXIOLOGICAL ATTITUDE TO THE GENRE OF SHASHMAQAM, WHICH IS INCLUDED IN THE CONTENT OF INTANGIBLE CULTURAL HERITAGE." European Journal of Learning on History and Social Sciences 1, no. 5 (2024): 30–32. http://dx.doi.org/10.61796/ejlhss.v1i5.543.

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In the article, globalization processes have created the need for an axiological approach to intangible cultural heritage in the world community. That is why it is important to convey intangible cultural heritage as a value to the next generation in its pure state. In these processes, every nation with an ancient and rich history and the representatives of this nation polish over the centuries and preserve the examples of folk art and folk art, and today Uzbekistan has included local objects in the UNESCO World Heritage List. as a priority to include items, the state decisions defined in the "Strategy of Actions" and "Strategy of Development" are also of great importance, and the concept of "Intangible Cultural Heritage" includes our cultural heritage that has reached the present day from our ancestors
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30

Sultanov, Abdurakhim Abdurakhmanovich. "THE IMPORTANCE OF THE APPLICATION OF THE TRADITIONS OF “TEACHER-SHOGIRD” IN THE FORMATION OF MORAL AND MORAL QUALITIES OF STUDENTS AND STUDENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 06 (2021): 161–66. http://dx.doi.org/10.37547/pedagogics-crjp-02-06-30.

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In the article, important tasks that should be performed in higher and secondary special educational institutions , as well as in secondary schools, in order to integrate the masterpieces of Uzbek national and classical music, as well as musical heritage of “Shashmakom” into the minds of young people, classes in the traditional style" teacher – in the process of using modern information technologies in the teaching of “traditional singing”, important tasks such as providing knowledge to students and students, developing their talents and abilities, educating the younger generation in the national spirit will be resolved. The education of a harmonious person, the formation of his spiritual world, the development of his attention to national values - in fact, should begin with the primary classes of secondary schools. The awakening of love in children to all genres, spheres of art is carried out from that time. Those in the primary classes are threeraydi a lot of students with such multifaceted abilities. The solution of these issues is based on the creative activity of the master artists, on the research conducted in the process of delivering classical music performing arts to fans and the results of the experiments obtained, the experiences of their introduction into the educational process are presented and the solution of the problems that are encountered is expressed.
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31

Rahmonova, Shahnoza. "The Metrical Features of Chustiy’s Ghazals." Golden scripts 1, no. 1 (2019): 103–29. http://dx.doi.org/10.52773/tsuull.gold.2019.1/dcuo5963.

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Chusti’s poems in the genre of ghazals especially with their metric aspect in such writings as “Khayotnoma” (1988), “Sadokat gullari” (1992), “Ko‘ngil tilagi” (1994) are reserched in this article. Moreover, we will see the peculiarities of each couplet (string) based on the requirements of the ghazal in the proportion of ideas and images, the unity of meaning and form in the poet’s view. Chusti actively used the system of aruzi bahri (metric term) rajaz, muhtass, mutakarib, musari, hazaj, ramal in his ghazals. We can see that the ghazals were created in these metric systems fit into 52 songs of “Shashmakom”. And also the analyzed the genres of ghazals and the value of the themes. In addition, the metric of Chusti’s ghazals is compared with the metric properties of the poems of Alisher Navoi and Zahiriddin Muhammad Babur. Their parallels, similarities, themes and content are highlighted with definite examples. Interaction with oral folklore and folk songs of ghazals are researched. In addition, it was said that the individual ghazals of Chustiy are not compatible with the rules of aruz, in particular, the ghazal “Khaddan ziyada”, “Keling tezrak, Karakalpak”. During the analysis of these ghazals, they were found to be more consistent with the rules of fingerprint metrics. And also for the first time, the article presents statistical data on the ghazal of Chusti.
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32

Bekboyeva, Nargiza. "THE ISSUE OF NAMUDS IN UZBEK NATIONAL MUSIC." International journal of advanced research in education, technology and management 2, no. 2 (2023): 170–75. https://doi.org/10.5281/zenodo.7628585.

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<strong><em>Annotation: </em></strong><em>In this article, the issue of namuds in Uzbek national music, especially in the performance of maqam, is studied, and the scientific researches conducted by the scientist Is&rsquo;hoq Rajabov on the theory of maqam are recalled.</em> &nbsp; &nbsp;
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33

Bekboyeva, Nargiza. "THE ISSUE OF NAMUDS IN UZBEK NATIONAL MUSIC." International journal of advanced research in education, technology and management 2, no. 1 (2023): 484–89. https://doi.org/10.5281/zenodo.7635742.

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<strong><em>Annotation: </em></strong><em>In this article, the issue of namuds in Uzbek national music, especially in the performance of maqam, is studied, and the scientific researches conducted by the scientist Is&rsquo;hoq Rajabov on the theory of maqam are recalled.</em> &nbsp; &nbsp;
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34

Ibrohimov, Oqilxon. "About poetry and melody." Uzbekistan: language and culture 4, no. 1 (2022): 104–16. http://dx.doi.org/10.52773/tsuull.uzlc.2022.4.1/ilrp4344.

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From time immemorial, melody and poetry have always been inter-connected, complementing and decorating each other. Folk songs, dastans, ancient hymns, reading traditions, dhikrs of dervishes are vivid examples of this. Although by the Middle Ages, music and poetry separately rose to the level of the classics and began to possess the properties of immanent expression, the mutual "need" of these two types of art has survived to this day. Deeply aware of this, musicians of different eras have always aspired to poetry, and poets have always been interested in music.In this respect, especially during the reign of Amir Temur and the Temurids, the activities of many poets and musicians were very effective. Indeed, thanks to the talent of the creators, as well as the commonality of priority ideas and in many respects the similarity of the classical metric of poetry with musical art, highly artistic samples of vocal music were creat-ed, reflecting the amazing harmony of word and melody.These creative traditions, clearly expressed in the system of Twelve Maqoms, continue to this day in the Bukhara Shashmakom, Khorezm ma-qoms, Fergana-Tashkent maqoms and classical vocal genres such as suvo-ra, ashula, katta ashula. Currently, song genres are of particular importance in the formation of the spiritual world of generations, singing in a harmo-nious combination of melodies and words such noble qualities as loyalty to the Motherland and the people, tolerance, sincerity, humanism. In this regard, modern poets, composers and performers have achieved certain results. In the long term, a responsible but noble creative task is to bring the achieved results to a new level, which is a requirement of the time.
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35

Bahram, Khudoinazarovich Madrimov, and Maksuda Lochinboevna Akhmedova. "INTERPRETATION AND SPIRITUAL AND EDUCATIONAL CONTENT OF MANTRAL MUSICAL SONGS "AVESTO"." Eurasian Journal of Academic Research 1, no. 3 (2021): 52–57. https://doi.org/10.5281/zenodo.4934556.

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<em>In this article, we tried to analyze the musical basis of the Avesto, without which the texts of the holy book would not have survived for centuries without a written source. The priests of the Zoroastrian ensemble, preserved in Iran and India, focus on the musical aspect of the performance of the Avesto, based on melody and rhythm. They have no analogues in this area. According to sources, their ability to hear and play is unique.</em> &nbsp;
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36

Kadirov, Utkur. "CHOLG'U IJROCHILIGI VА TА'LIM: MАQOMNI YАNGI АVLODGА O'RGАTISH". Journal of Science-Innovative Research in Uzbekistan 2, № 12 (2024): 536–41. https://doi.org/10.5281/zenodo.14558539.

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Ushbu maqolada o'zbek milliy musiqa san'atining yosh avlodni tarbiyalashdagi ahamiyati tahlil qilingan. Milliy musiqaning tarixiy rivoji va maqom cholg'ulari ijrochiligini o'rganish orqali bu san'atning o'rni va ahamiyati ko'rsatilgan. Maqolada, shuningdek, o'rta asr musiqashunoslarining ilmiy va musiqa merosi hamda zamonaviy o'zbek kompozitorlarining ijodida milliy musiqa an'analari va maqomlarining qanday qo'llanilayotgani haqida fikrlar bildirilgan.
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37

Boboyev, Omonxon Muhammadiyevich. "MILLIY MUSIQA SAN'ATI VA YOSHLAR TARBIYASI." Innovative Development in Educational Activities 2, no. 12 (2023): 27–29. https://doi.org/10.5281/zenodo.8102541.

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<em>Ushbu maqolada milliy musiqa san&rsquo;atimizning yosh avlodni tarbiyalashdagi munosib o&lsquo;rni yoritib berilgan. Milliy musiqamiz tarixi va o&lsquo;rganilishi an&rsquo;anaviy xonandalik fani misolida tadbiq etilgan. O&lsquo;rta asr musiqashunoslarining ilmiy-musiqiy merosi va zamonaviy o&lsquo;zbek kompozitorlarining ijodida milliy musiqa san&rsquo;atimiz namunalarining qo&lsquo;llanilishi haqida fikr yuritilgan. </em>
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38

Axtamov, Islom Ilhom o'g'li. "INTRODUCING STUDENTS TO THE ART OF MAKOM THROUGH MUSIC CULTURE LESSONS." Eurasian Journal of Academic Research 1, no. 3 (2021): 40–45. https://doi.org/10.5281/zenodo.4934472.

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The article discusses the pedagogical features of acquainting schoolchildren with the art of makom and the issues of educating the younger generation in the spirit of high human feelings through the art of makom.
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39

Mustafoyev, Baxtiyor Ibragimovich. ""BUKHARA FRESHMAN" IS A NATIONAL EDUCATIONAL INSTRUMENT." МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ: ТЕОРИЯ И ПРАКТИКА 2, no. 2 (2024): 208–16. https://doi.org/10.5281/zenodo.10658566.

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Mustaqillik yillarida&nbsp; o&lsquo;zbek milliy maqom san&rsquo;atining noyob namunalarini keng targ&lsquo;ib etish, uni asrab avaylash va rivojlantirish, yosh avlod qalbida milliy mumtoz san&rsquo;atimizga&nbsp; hurmat va e&rsquo;tibor tuyg&lsquo;ularini kamol toptirishda O&lsquo;zbekiston Respublikasi Prezidentining 2017-yil 17-noyabrdagi &ldquo;O&lsquo;zbek milliy maqom san&rsquo;atini yanada rivojlantirish chora tadbirlari to&lsquo;g&lsquo;risida&rdquo; gi PQ-3391-sonli&nbsp; Qarorda &ldquo;Xalqimiz, xususan&nbsp; yosh avlodni maqom san&rsquo;ati bilan keng tanishtirish orqali ularda milliy o&lsquo;zlikni anglash tuyg&lsquo;usi yuksak badiiy-estetik did va tafakkurni kamol&nbsp; toptirish&rdquo;&nbsp; vazifasi&nbsp; qo&lsquo;yildi [1].
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40

Qo'shayev, Ilhom Axtamovich. "THE BEST WAY TO GET ACQUAINTED WITH PROFESSIONAL MUSICAL TRADITIONS IN MUSIC CULTURE CLASSES." Eurasian Journal of Academic Research 1, no. 3 (2021): 46–51. https://doi.org/10.5281/zenodo.4934504.

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The article says that the school still has problems with the study of professional (oral) musical genres of the oral tradition, as well as with the study of classical works, and that these problems are solved when students get acquainted with all musical samples, study and master them, and achieve spiritual perfection.
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41

Komila, Bo'riyeva. "SHASHMAQOMGA OID MA'LUMOTLARNING SHARHI." March 21, 2025. https://doi.org/10.5281/zenodo.15062232.

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<em>Mazkur maqolada internet tarmoqlarida maqom san&rsquo;atiga oid ilmiy maqolalar va shashmaqomga oid ma&rsquo;lumotlar sharhi haqida fikr yuritilgan. Maqola davomida internet tarmoqlaridagi Shashmaqom kuylari va video yozuvlariga ham alohida to&rsquo;xtalib o&rsquo;tilgan.</em>
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42

F.Ikromova. "ABOUT THE AREAS OF TALKIN IN SHASHMAQOM." July 25, 2022. https://doi.org/10.5281/zenodo.6902860.

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<em>In this article, &quot;Shashmakom&quot; includes the &quot;Talkin&quot; areas that exist in all maqoms except Iraq. In Buzruk it is called Uzzol, in Rost - Ushshak, in Navod - Bayot, in Dugokh - Chorgoh, in Segokh - Segokh. Talkin means &quot;to advise&quot;. At the beginning of the formation of Shashmaqom, poems and gazelles were written, instructive on the ways of Talkin chants, so they were called Talkin.</em>
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43

АБДУРАШИДОВ А, А. "ОБ ИЗДАНИИ В НОВОЙ РЕДАКЦИИ И ВЕРСИИ КНИГИ ШАШМАКОМ В ТАДЖИКИСТАНЕ". Музыковедение, № 12 (28 грудня 2024). https://doi.org/10.25791/musicology.12.2024.1404.

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Статья посвящена издании 6-титомной книги Шашмаком в новой редакции и версии в Таджикистане. В начале рассматривается история фиксации мелодической основы цикла Шашмаком на нотную графику. Приводятся дошедшие до нас ранние источники об искусстве Шашмаком - Бухарские трактаты (рисола) в форме сборника поэтических текстов (баёз), «Хорезмская танбурная нотация», составленная Камилем Хоразми, «Шесть музыкальных поэм» В.Успенского, а также изданные во второй половине ХХ века таджикскими и узбекскими мастерами-исполнителями книги Шашмаком, основной задачей которых являлась - собрать, зафиксировать и сохранить данный музыкальный материал. Затем отмечается, что в условиях современности назрела другая задача - внесения определённых корректив, дополнений и новшеств - новой редакции в научно-теоретическом и практическом обосновании искусства Шашмаком и издании в академической форме 6-титомную книгу Шашмаком. В этих целях в Таджикистане была создана специальная школа - Академия макома, которая успешно выполнила эти задачи с помощью молодых талантливых учеников. Для выполнения этой задачи академия провела три этапа работы: 1) воспитала и обучила молодых профессиональных кадров, с тем чтобы они смогли в перспективе исполнить все части цикла Шашмаком в новом формате; 2) записала все части цикла Шашмаком в исполнении ансамбля Академии макома в студии звукозаписи: 3) расшифровала, записанные в студии академией макома все части цикла Шашмаком и в итоге впервые издала 6-титомную книгу Шашмаком в новой редакции и версии и с научными комментариями. В настоящее время книга Шашмаком используется в научных, учебно-методических и творческих целях во всех специальных музыкальных учреждениях Республики Таджикистан. The article is dedicated to the publication of the 6-volume book Shashmaqom in a new edition and version in Tajikistan. In the beginning, the history of fixing the melodic basis of the Shashmaqom cycle on musical notation is considered. The early sources on the art of Shashmaqom that have come down to us are cited - Bukhara treatises (risola) in the form of a collection of poetic texts (bayoz), "Khorezm tanbur notation" compiled by Kamil Khorazmi, "Six musical poems" by V. Uspensky, as well as books of Shashmaqom published in the second half of the twentieth century by Tajik and Uzbek master performers, whose main task was to collect, record and preserve this musical material. Then it is noted that in the conditions of modernity another task has matured - to make certain adjustments, additions and innovations - a new edition in the scientific-theoretical and practical substantiation of the art of Shashmaqom and the publication of a 6-volume book of Shashmaqom in academic form. For these purposes, a special school was created in Tajikistan - the Academy of Maqom, which successfully accomplished these tasks with the help of young talented students. To accomplish this task, the Academy carried out three stages of work: 1) educated and trained young professional personnel so that they could eventually perform all parts of the Shashmaqom cycle in a new format; 2) recorded all parts of the Shashmaqom cycle performed by the Academy of Maqom ensemble in a recording studio; 3) transcribed all parts of the Shashmaqom cycle recorded in the studio by the Academy of Maqom and ultimately published for the first time the 6-volume book Shashmaqom in a new edition and version and with scientific commentary. Currently, the book Shashmaqom is used for scientific, educational, methodological and creative purposes in all special musical institutions of the Republic of Tajikistan.
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44

Z.Norova. "NATIONAL MUSICAL HERITAGE AS A MEANS OF SPIRITUAL DEVELOPMENT." July 24, 2022. https://doi.org/10.5281/zenodo.6896156.

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<em>This article provides information about &quot;Shashmaqom&quot;, which is considered our national musical heritage, the history of its creation, its creators, the structure of shashmaqom and national tunes. The effect of the status and its influence on the spiritual world of a person is explained.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </em>
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45

Axmedova, Sarvinozxon Ravshanbek qizi, and Z.Suyunova. "SHASHMAQOM TURKUMIDAN SARAXBORI BUZRUK." October 1, 2022. https://doi.org/10.5281/zenodo.7296217.

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46

Lochinbek, ABDULLAYEV. "SHASHMAQOM IJROCHILIGIDA TARONALAR TASNIFI." 2, no. 3 (2024): 123–27. https://doi.org/10.5281/zenodo.12518092.

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Ushbu maqolada Shashmaqom tarkibiga kiruvchi taronalar haqida maʼlumotlar beriladi. Maqom taronalari borasida olimlarning fikrlari, izlanishlari haqidagi maʼlumotlar ham qayd etiladi. Musiqashunos Sh. Oyxo&lsquo;jayevaning maqom taronalari borasidagi ilmiy izlanishlariga&nbsp;alohida qisqacha to&lsquo;xtalib o&lsquo;tilibgina qolmay, shu sohaga qo&lsquo;shgan o&lsquo;rni haqida ham yetarlicha so&lsquo;z olib borishga harakat qilingan. Umuman olganda, shashmaqom tarkibiga kiruvchi taronalar, o&lsquo;zbek eli, o&lsquo;zbek xalqi tinglovchilari uchun muhim ahamiyat kasb etadi desak, ayni so&lsquo;zni gapirgan bo&lsquo;lamiz.
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47

Karimova, Mahfuza Vaxabovna. "SHASHMAQOM CHOLG'U QISMLARINING IJROCHILIGI." March 21, 2025. https://doi.org/10.5281/zenodo.15062222.

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<em>Mazkur maqolada<strong> </strong>maqom cholg&rsquo;u qismlarining ijrochiligi haqida so&rsquo;z boradi. Shuningdek, maqola davomida maqom tarixi, badiiy ahamiyatiga alohida to&rsquo;xtalib o&rsquo;tilgan va Shashmaqom cholg&rsquo;u ijrochiligi mohiyati yoritib berilgan.</em>
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48

АБДУРАШИДОВ А, А. "О СВЯЗИ ПРАВИЛ ПОСТРОЕНИЯ КОМПОЗИЦИИ САРАХБОРИ РОСТ И ЗВУКОВЫСОТНОГО СТРОЯ ТАНБУРА". Музыковедение, № 9 (28 вересня 2024). https://doi.org/10.25791/musicology.9.2024.1392.

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Статья посвящена изучению связи канонов построения композиции Шашмаком и звуковысотного строя танбура, являвшегося главным музыкальным инструментом в исполнительской практике. Рассматривается проблема нарушения правил построения на основе звуковысотной системы композиции Сарахбори Рост макома Рост системы Шашмаком. Устанавливается, что этот раздел цикла макома Рост на протяжении многих лет исполняется неверно. В связи с этим приводятся примеры из книг, изданных мастерами искусства Шашмаком, которыми удостоверяется факт нивелирования канонов построения композиции. Методом исследования обозначенной проблемы становится пояснение связи звуковысотной системы Шашмаком и танбура, в частности извлекаемых на нём октавных звукорядов, некогда активно применявшихся мастерами-знатоками в практике классического музыкального творчества и формировании канонической системы Шашмаком. Именно при помощи выяснения их связи было установлено построение разделов композиции Сарахбори Рост... The article is devoted to the study of the connection between the canons of the construction of the Shashmaqom composition and the pitch system of the tanbur, which was the main musical instrument in performing practice. The problem of leveling the canons of the pitch system of the composition Sarakhbori Rost maqom Rost Shashmaqom system is considered. It is established that this section of the maqom Rost cycle has been performed incorrectly for many years. In this regard, examples are given from books published by masters of the art of Shashmaqom, which certify the fact of leveling the canons of the composition. The method of studying the designated problem is to clarify the connection between the pitch system of Shashmaqom and tanbur, in particular the octave scales extracted on it, which were once actively guided by masters-experts in the practice of classical musical creativity and the formation of the canonical system of Shashmaqom. It was by clarifying their connection that the construction of sections of the composition Sarakhbori Rost was established...
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49

Ashiraliyev, Furqatbek Davron o'g'li. "SHASHMAQOM TIZIMINING TUZILISHI VA ESTETIK ASOSLARI." May 2, 2025. https://doi.org/10.5281/zenodo.15320787.

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<em>Mazkur ishda Shashmaqom tizimining musiqiy tuzilishi, uning asosiy qismlari, lad-tonal tizimi va kompozitsion qurilishi chuqur tahlil qilinadi. Shuningdek, Shashmaqomning estetik asoslari, ya&rsquo;ni ohang, ritm, poetik mazmun va ijro uslubining o&lsquo;zaro uyg&lsquo;unligi orqali yaratilgan go&lsquo;zallik mezonlari yoritiladi. Tadqiqotda Shashmaqomning o&lsquo;ziga xosligi, milliy musiqiy tafakkurdagi o&lsquo;rni hamda madaniy meros sifatidagi qadriyati nazariy va amaliy jihatdan asoslab beriladi. Shashmaqomning badiiy-estetik ta&rsquo;siri uning ijro an&rsquo;analari, tinglovchi bilan muloqoti va musiqiy obrazlar yaratish vositalari orqali ochib beriladi.</em>
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50

Salixova, Muhabbat Abdujabbarovna. "SHASHMAQOM CHOLG'U (MUSHKILOT) BO'LIMI. IJROCHILIK AN'ANALARI. TASNIF VA TARJE KUYLARI." December 30, 2024. https://doi.org/10.5281/zenodo.14578910.

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