Re: Mp3 Uzbek Music
Angie Troia
The music of Uzbekistan has reflected the diverse influences that have shaped the country. It is very similar to the music of the Middle East and is characterized by complicated rhythms and meters.[1] Because of the long history of music in the country and the large variety of music styles and musical instruments, Uzbekistan is often regarded as one of the most musically diverse countries in Central Asia.[2]
The music of what is now Uzbekistan has a very long and rich history.[3] Shashmaqam, a Central Asian classical music style, is believed to have arisen in the cities of Bukhara and Samarqand in the late 16th century.[4] The term "shashmaqam" translates as six maqams and refers to the structure of music with six sections in different musical modes, similar to classical Persian traditional music. Interludes of spoken Sufi poetry interrupt the music, typically beginning at a low register and gradually ascending to a climax before calming back down to the beginning tone.
After Turkestan became part of the Russian Empire in the 19th century, first attempts were taken to record national melodies of Turkestan. Russian musicians helped preserve these melodies by introducing musical notation in the region.
In the 1950s, Uzbek folk music became less popular, and the genre was barred from radio stations by the Soviets. They did not completely dispel the music. Although banned, folk musical groups continued to play their music in their own ways and spread it individually.[5] After Uzbekistan gained independence from the USSR in the early 1990s, public interest revived in traditional Uzbek music. Nowadays Uzbek television and radio stations regularly play traditional music.
The people's Artist of Uzbekistan Turgun Alimatov is an Uzbek classical and folklore composer, and tanbur, dutar, and sato player. His compositions include "Segah", "Chorgoh", "Buzruk", "Navo", and "Tanovar". His image is associated with national pride and has been presented as the symbol of Uzbek classical music to the world.[6]
Another well-known Uzbek composer is Muhammadjon Mirzayev. His most famous compositions include "Bahor valsi" ("The Spring Waltz") and "Sarvinoz". "Bahor valsi" is played on Uzbek television and radio channels every spring.
Sherali Joʻrayev is a singer of traditional Uzbek music. However, he has fallen out of favour with the Uzbek government, who have banned his performances on Uzbek TV as well as his public performances since 2002.[7][8] He still performs at Uzbek wedding parties and in other countries to popular acclaim.
In recent years, singers such as Yulduz Usmonova and Sevara Nazarkhan have brought Uzbek music to global audiences by mixing traditional melodies with modern rhythms and instrumentation.[2] In the late 2000s, Ozodbek Nazarbekov mixed contemporary music with elements of traditional Uzbek music.
Uzbekistan has also produced many notable composers and performers in the European classical art music idiom, and is home to notable symphony orchestras, festivals,[9] and contemporary music ensembles.[10] The State Conservatory of Uzbekistan, based in Tashkent and founded in 1936, is the nation's leading higher education institution for the professional training of musicians.
Many forms of popular music, including folk music, pop, and rock music, have particularly flourished in Uzbekistan since the early 1990s. Uzbek pop music is well developed, and enjoys mainstream success via pop music media and various radio stations.
Many Uzbek singers such as Sevara Nazarkhan and Sogdiana Fedorinskaya, Rayhon Ganieva have achieved commercial success not only in Uzbekistan but also in other CIS countries such as Kazakhstan, Russia, and Tajikistan.
An Uzbekistani metal band who has some degree of recognition is Night Wind, a folk metal group. Other Uzbekistani metal groups include Iced Warm, Salupa, Zindan, and Agoniya (Russian: Агония).[11]
Rap music has become popular among Uzbek youth. Rappers such as Shoxrux became very popular among young people in the 2000s. However, the Uzbek government censors rap music. It has set up a special body to censor rap music because it believes this type of music does not fit the Uzbek musical culture.[12]
This performance is culmination of a month-long residency that Khodjaeva is engaged in at the University of California, Santa Cruz, including rehearsals with the ensemble, meeting with graduate students, and lectures/demonstrations at UCLA and University of Colorado, Boulder, while she is in the United States.
Tanya Merchant, an associate professor of music at UC Santa Cruz, started the Asian Ensemble (formerly the Eurasian Ensemble) in 2008 with the goal of educating students on music outside of the western canon. Her two-credit course teaches students about the dutar, a two stringed instrument that is traditional in Iranian and other Central Asian musical traditions.
Uzbekistan has been known through much of the 20th and 21st centuries for its dynamic popular music scene, from pop bands like Yalla and the beloved Tashkent Music Hall to contemporary artists like Yulduz Usmanova, Munisa Rizaeva, and Shohruhxon. In this Russian-language seminar, we will discuss the origins of Uzbek popular music, including where it comes from and how it developed. How did Uzbekistan come to gain such renown across the world? We will also ask what the prospects of Uzbek pop music are today as Uzbekistan searches for its place in the dynamic Central Asian region.
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The art and sciences were revived in Central Asia during the 10th century AD when cities like Samarkand, Bukhara, and others became the leading cultural centers. During those times a large number of scientific and medical discoveries were made in Central Asia, sometimes hundreds of years before the same discoveries made in Europe. Also the expositions on music by Farobi, Ibn-Sino, Khorezmi and Fakhruddin Ar-Razi achieved great value, becoming a part of European theoretical musical science which underwent profound development during the following era.
After Turkestan became a part of tsarist Russia in the 19th century, they also recorded some of the national melodies of Turkestan. Russian musicians helped to preserve these melodies by introducing musical notation in the region. In the 1950s, Uzbek folk music got less popular and the genre was barred from radio stations by the Soviets but fortunately they did not completely dispel the traditional Uzbek music.
In recent years, singers such as Yulduz Usmonova and Sevara Nazarkhan have brought Uzbek music to global audiences by mixing traditional melodies with modern rhythms and instrumentation. Also, in the late 2000s, Ozodbek Nazarbekov emerged as a new popular singer who mixed contemporary music with elements of traditional Uzbek music. Several Uzbek singers such as Shahzoda and Sogdiana Fedorinskaya have also achieved commercial success not only in Uzbekistan but also in other CIS countries such as Kazakhstan, Russia and Tajikistan.
The rubab musical instrument is a short-necked lute, its body is carved out of a single piece of wood, with a membrane, covering the hollow bowl of the sound-chamber, upon which the bridge is positioned. It has three melody strings tuned in fourths, three drone strings and 11 or 12 sympathetic strings. The rubab is made from the trunk of a mulberry tree. The head of rubab is made from animal skin such as goat and the strings either gut (from the intestines of young goats, brought to the size of thread) or nylon.
The dutor (or dutar or doutar) is a traditional long-necked, two-stringed lute found in Iran, Central Asia and South Asia. Typical sizes for this often pear-shaped instrument range from one to two meters. This instrument has a warm and dulcet tone.
The term Tanbur, Tanbura, Tambur, Tambura or Tanboor means widely a long-necked, string instrument originating from Southern or Central Asia (Mesopotamia and Persia/Iran). The Uzbek tanbur has four metal strings that run over a small loose bridge to a bit of wood at the edge of the body. Tanbur is always played with a wire plectrum on the index finger. Its body is carved from a hollowed-out piece of mulberry wood, and the front is made from mulberry. Its neck is often decorated with inlay bone or white plastic.
This distinction may be the source of modern differentiation between Arabic instruments, derived from the Baghdad tunbur and of those found in northern Iraq, Syria, Iran, Sindh and Turkey, originating from the Khorasan tunbur.
The Persian name spread widely, eventually taking in long-necked string instruments used in Central Asian music such as the Dombura and the classical Turkish tambur as well as the Kurdish tembur. Until the early twentieth century, the names chambar and jumbush were applied to instruments in northern Iraq. In India, the name was applied to the tanpura (tambura), a fretless drone lute.
A bit about Uzbek dance, because on this last trip Idiscovered that Uzbeks really LOVE to dance! Just start some music, make somedance moves and soon everyone will be dancing, or watching and cheering thedancers on. Their dances fall into two major categories, folk and formal. Thethree main schools of formal dance are from Bukhara, Khorezm and Ferghana. Whatremains fairly consistent throughout each is an emphasis on movement of theupper body; mostly on the arms and hands, which undulate expressively, and seemto be using their own special sinuous sign language. Facial expression is alsoimportant, mostly expressing delight. There is no pelvic movement, and the legsand feet are primarily used for traversing space.
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