INTERNATIONAL JOURNAL ON ECONOMICS, FINANCE AND

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ABOUT MAKOM MELODIES ADAPTED FOR ORCHESTRA OF

UZBEK FOLK INSTRUMENTS
* Abdujalil Abdusattorov
*Fergana State University Teacher of the department “Music Education”
E-mail: abdujalil091992@gmail.com

ABSTRACT ARTICLE INFO

In this article, given the information about the Article history:
Received 07 Oct 2020
classification of musical works created in the style of makom by Received in revised form 10 Nov 2020
famous composers of Uzbekistan for orchestra of folk Accepted 15 Nov 2020

instruments. There will also be given a brief commentary on

musical works created in the tradition of makom. Keywords:
Click here and insert your abstract text. maqom tradition, musical treasure,
© 2020 Hosting by Research Parks. All rights reserved. orchestra, symphony orchestra,
oratorio, musical folklore,
compositional creativity.

1. Introduction

We all know that by the twentieth century, a number of radical changes and musical reforms have taken place in
the Uzbek musical culture. In particular, the emergence of the early genres of musical drama and comedy, as well as the
invitation of Russian composers and musicologists to Tashkent, led to significant changes in the scientific and creative sphere.
1

2. Main part

The field of composition, which was established in the twenties of the last century, introduced its first varieties
into practice.
First of all, the makom samples, which are the heritage of our national music art, were collected, recorded and
sealed for eternity in the form of a book. At the same time, folk songs, samples of musical folklore, musical instruments,
epics were recorded by famous folklorists with the help of phonograph.
Second, compositional creativity, a young field of music art, presented its first creative results to music enthusiasts.
If the first creative exercises were written with quotes from folk melodies, maqom samples, the creative experience of local
artists and the works of famous composers especially Mukhtor Ashrafi, Tolibjon Sodiqov, Mutal (Mutavakkil) Burhanov,
Manas Leviev, Sulaymon Yudakov, Sayfi Jalil should be especially noted.
The next period is the late 30s to the early 40s. During this period, an orchestra of folk instruments was formed
and fruitful work was done on its creative program. Makom traditions, using the ways of singing as a quote, enriched with

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INTERNATIONAL JOURNAL ON ECONOMICS, FINANCE AND SUSTAINABLE DEVELOPMENT ISSN (electronic): 2620-6269/ ISSN (printed): 2615-4021 29

national musical thinking, polyphonic elements, artistically and aesthetically perfect musical works were created from each
other.
In the composition of the Uzbek composers, the processing of makom melodies with the help of a jeweler's
approach to the performance of symphonic and folk orchestras was carried out at a rapid pace. In this regard, the creative
works of such composers as Mutal Burhanov, Felix Yanov-Yanovsky, Mirsodik Tadjiev, Sayfi Jalil, Mirkhalil Makhmudov,
Mustafo Bafoev, Habibulla Rakhimov was clearly visible. 2
Uzbek composers have effectively used a variety of methods and techniques for processing makoms. First of all, the
maqom tracks were taken in their original form without any change in their fret, melody-rhythmic bases. This is the case in
“Soqiynomai Mog’ulchai Segoh” better known as “Nasri Segoh”, “Qashqarchai Rok” and its Ufor and we can observe in the
revised versions of several maqom roads that are popular in Fergana and in Tashkent.
We can see the first attempts in this direction in the works of famous composers Felix Yanov-Yanovsky and
Mirsodiq Tadjiev. For example, in the 1st part of M.Tojiev’s 9th symphony “Mog’ulchai Dugoh” is thematically, in the 2nd
part the method of sokiynoma is preserved, in the 3rd part Ufor, in the 4th part “Mogulchai Dugoh” is accompanied with the
melody “Sarahbor”. It is obvious that Shashmaqom, our golden heritage, has attracted composers like a valuable magnet.
After the transition of our national instruments to the tempered system, the orchestra of folk instruments appeared
in our country and developed and improved. Gradually, composers Fahridin Sodiqov, Saidjon Kalonov, Muhammadjon
Mirzaev, Tuhtasin Jalilov and other well-known composers created musical works for the orchestra of folk instruments. Later,
such works began to appear in the composition works. Composer Sabir Boboev’s “Holiday Overture” for the instrument
named “chang” and orchestra “Concertino” is a professional work written for orchestra of folk instruments. 3
One of the masterpieces of Uzbek symphony, Mirsodiq Tadjiev, in his work, along with symphonic music, we can
see many works written for orchestra of folk instruments.

1. Oratorio “Shodiyona”. Poem by Maruf Qoriev. For choir soloists and orchestra. Dedicated to the 50th anniversary of
the Uzbek SSR. 1973 y.

2. “Concert” overture. 1977 y.

3. "Concertino" for piano and orchestra in 1977, "Melody" in 1978, Ophelia Yusupova (on piano).

4. Overture "Youth". For orchestra of folk instruments. 1978 y.

5. “Sarafruz”. For orchestra of folk instruments. 1978 y.

6. Overture “Tantana”. For orchestra of folk instruments. 1979y

7. “Overture”. For orchestra of folk instruments. 1980y.

8. Concert for neighbors and orchestra. For orchestra of folk instruments. 1991y.

9. Concert. For drums and orchestras of folk instruments. 1991 y.

10. “Concert-sarafruz” for folk orchestra. 1992y.

11. Concert. For the orchestra of Uzbek folk instruments 1992.

Later, in the 50s of the XX century, radical changes took place in the performance of the orchestra of folk
instruments. The famous artist Boris Gienko, who made a great contribution to the development of the Uzbek school of
composition, enriched our art by writing musical works in various genres as a versatile and talented composer. He also wrote
masterpieces for the orchestra of folk instruments. In his work for orchestra of flute and folk instruments, he used samples of
maqom as a quote from “Wild Chorgoh”.
Today, the talented composer Mustafo Bafoev, who has been writing works in all musical genres, has written many
works for the orchestra of folk instruments. His works are written with deep thought in all respects. We can list M. Bafoev's

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ISSN (electronic): 2620-6269/ ISSN (printed): 2615-4021 . Hosting by Research Parks All rights reserved.
INTERNATIONAL JOURNAL ON ECONOMICS, FINANCE AND SUSTAINABLE DEVELOPMENT ISSN (electronic): 2620-6269/ ISSN (printed): 2615-4021 30

“Sugdcha”, “Bukhara concert”, “Concerto” for orchestra of folk and folk instruments, “Concerto” for tanbur and orchestra
of folk instruments and many others. In the work of Mustafa Bafoev, he skillfully used our status, which is our national
music. For the orchestra of tanbur and folk instruments, he used the melody “Savti Munojot” at the “Concert” and sang it
with great taste. The musical work is professionally written in all respects and embodies national traditions and styles.
If we look at the musical analysis of the work “Concerto” for the orchestra of tanbur and folk instruments, the
musical work is in the tone of a-moll, 3/4 size, written in Allegro moderato. The input part consists of 8 clock cycles. The
main theme of the work, in the national tone, is not quoted from the ways of status. The metro-rhythm of the melody, the
tendency of its development, shows that in the tanbur saz it uses its own possibilities of performance, in particular, melismas
and the orchestra mainly performs the role of accompaniment. Starting with number 2 (zero), the connecting part is in D-dur
tone, in a variant very similar to the main theme. Once a theme is complete, the transitions to other tonalities similar to that
theme remind us of the songs and melodies in the Prose and Difficulty section of our maqoms. The numbers 3,4,5 are in the
same square and consist of a cycle of 8 bars.
Numbers 6-12 are on a 5/8 scale, which is a development of Part 1, and the topics in each number (zero) consist of
an extended period. Changes in tones, alterations and the occurrence of chromatic sounds are evidence of development. The
rhythm is preserved in this part as well. Number 13 comes with a lyrical theme and section specific to the makom tracks in
Andante speed, A-dur tonality, 7/8 scale. Continues to number 17. Number 18 begins with Cadence, in which the status of
“Savti Navo” is used in full. A certain part of the cadence, that is, the absence of bars, can be felt in the modern “Avangard”
style. Reprinting through the changes in Figure 19 leads to the main part. Then its tonality ends at a-moll.
Composer Habibulla Rakhimov is also effective in this field and has written many musical works. There are many
works for solo instruments and orchestral works by the artist. In the annual “Festival” in our country, ie in the competitions
for folk instruments, the works of the artist are performed as a mandatory work. The composer wrote "Oratorio" for solo,
sukhandon, choir and orchestra of folk instruments. In this play, the status of “Segoh” is quoted in the party of the protagonist
Bahauddin Naqshbandi, and the status of “Chorgoh” is also used effectively.
3. Conclusion

It should be noted that the musical works created by Uzbek composers have received great acclaim on the world
stage. Effective work is being done in this direction these days, and new musical works are being created by young composers.
Among the musical works of recent years, especially in the works written for the orchestra of folk instruments, we can observe
examples of creative experience typical of the Fergana-Tashkent maqom. After all, maqoms are a musical treasure of the
Uzbek people and will undoubtedly serve as the main source of creativity for many centuries.

REFERENCES

 Modern technologies in the works of Uzbek composers: problems and solutions. Proceedings of the student
scientific-theoretical conference. Toshkent., 2019.
 Jabborov "Composers and musicologists of Uzbekistan" - T., 2004
 R. Abdullaev “Uzbek classical music” - T., 2008.
 R. Yunusov “Mirsodiq Tojiev” (Monograph) - T., 2018.

E-mail address: info@researchparks.org

Peer review under responsibility of Emil Kaburuan.
ISSN (electronic): 2620-6269/ ISSN (printed): 2615-4021 . Hosting by Research Parks All rights reserved.