Twelve Uyghur Flour

Information about the origin of the art of makamat, the peculiarities of stylistics, structure and ways of being are found in the manuscripts of scientists of the East, starting from the 9th century. Al-Farabi created the theory of oriental music, and Ibn Sina (Avicenna) gave a deep interpretation of issues of musical acoustics , intervals, rhythms. In the second half of the 13th century, the prominent musician-theorist Safiaddin Urmavi first substantiated the principle of the formation of twelve frets-dauras (later Makamov) in the treatise “Kitab al-Aduar” (or “Advar” - “The Book of Musical Circles”) ^[2] . A reliable source on the issues of history, theory and practice of medieval music of the East, in particular Mukam, is the scientific research of Al-Shirazi (1236–1310). The scientific achievements of Abdurahman Jami (1414-1492) ^[3] and Alisher Navoi (1441-1501) in theoretical issues of music and poetry contributed significantly to the formation of the artistic and aesthetic views of poets and musicians of subsequent eras. Information on the forms, character and style of musical works contains “Treatises on Music” by Kavkabi of Bukhara (XVI century) and Darvish Ali (XVII century) ^[4] .

A number of Soviet and foreign scholars of the art of makamat (Radjabov I.R., Veksler S.M., Abdushukur Muhammat Imin) ^{[5] [6] [7]} believes that among the peoples of Central and Central Asia this art existed long before the Arab invasion of other forms, although the term "makam" was first witnessed in the musical treatises of Mahmoud Shiraz at the turn of the XIII-XIV centuries.

The earliest information about the Uyghur musical culture of past centuries is contained in Suisha, the History of the Sui Dynasty, created in the 7th century. Based on the data from the musical section of this story, Uighur scholar Abdushukur Muhammat Imin writes in the book “Song and Dance Art of Xinjiang of the Tan Age” that in the second half of the 6th century, the Kuchan musician-singer and piped piped instrument Sujup developed a system of five rams and seven stages scale, which is widespread in China ^[8] . This period probably refers to the initial stage of the formation of musical theory in Central Asia, which arose on the basis of the highly developed musical culture of the early Middle Ages. The theoretical system of Sujup, which was widely distributed throughout East Turkestan , undoubtedly served as the basis for Uyghur musical progress in subsequent centuries. In the VI – VII centuries, such talented musicians as the composer Mantur appeared ^[9] .

From Chinese literature, we learn that the music culture of Western and Central China and even Korea was influenced by the music of Kuchi , known in China since 242. ^{[10] The} Chinese traveler Xuanzang (beginning of the 7th century) writes that "the local [Kuchan - T.A.] musicians are unusually skilled in playing the flute and the guitar and are superior to all other countries in this." ^[11] Curious information about the ceremonial music of Kuchi in the Tang period (VII-X centuries) is curious. Here "the musical composition" Great Reconciliation "was performed, which was also called the" Dance of the Lions of Five Celestial Directions "." And further, “140 people sang the song“ Great Reconciliation “and followed the“ lions ”[boys - T.A.], (that is, they also obviously danced), clapping their hands (clicking on another source), so that keep the beat. " ^[12]

At the beginning of the 8th century, a prototype of the Uyghur mukam Chon Nagma was born in East Turkestan ^[13] . From the Memoirs of the Yuan Dynasty, it is known that the Tang era in the city of Kucha was marked by the appearance of a graphic recording of music ^[14] . About Uyghur dances, songs and musical instruments there are references to the famous 13th-century Venetian traveler Marco Polo ^[15] .

The musician of the 16th century, Kidirkhan Yarkendi, in his work “Nazuk Nukta” (“Tender Sounds of a Point”) characterized the work of Uyghur professional musicians, his contemporaries, and individual mukums performed by them. Ismatulla Namatulla Mojizi in his work “Tavarihi musikiyun” (“The History of Musicians”), created in 1854, introduces readers to seventeen musicians and poets of the Near and Middle East of the 10th-16th centuries, among whom are such prominent representatives of the 16th century Uyghur musical and poetic art like Kidirkhan Yarkendi and Amannisahan ^[16] .

Considering makamat to be mainly the art of the Muslim world, the famous musicologist H. S. Kushnarev in his work on the Armenian monody attributes its occurrence to about the X century, and the highest flowering to the XII-XIII centuries. “During this period, mugham develops in line with the trends of the so-called“ Seljuk ”[Oguz - T.A.] art, in the formation of which local creative initiative, local traditions played an extremely important role” ^[17] .

A brief historical and cultural excursion into the musical past of the Uyghurs, revealing traces of high musical culture, suggests that the emergence of the Uyghur Mukam dates back to the 5th – 6th centuries, the development of the genre falls on the 7th – 9th centuries, and the full formation of the classical cycle takes place in the 10th – 12th centuries .

Summing up the various information available on flour forms, the researchers believe that the most ancient and perfect of them is the system of “Twelve Mukam” (“Duvazdakh makam”) ^{[3] [18]} . It included the following mukamas: Rast, Ushak, Buslik, Isfahan, Zirafkand (or Kuchak), Buzruk, Zangul, Rahavi, Husaini, Hijaz, Iraq.

The late form of this genre is represented by a “ shashmak ” in Central Asia and datgyahs in Iran, which were formed in the 18th century under the influence of the earlier system of the “Twelve Mukams”. “Shashmakom” - a cycle of six mukamas: Buzruk, Rost, Navo, Dugokh, Segoh and Irok - is a legacy of the Tajik and Uzbek peoples. In the Azerbaijani, Turkmen musical practice, there are seven main torments. Azerbaijani mugams-dastgyahs have the following names - Rast, Shur , Seghah, Chargakh, Bayat-Shiraz , Humayun, Shushtar. Seven Turkmen mukums differ from others in that they are instrumental, as well as in names and composition ^[19] . The instrumental form of mugham is also widespread in Armenia .

In 2005, UNESCO announced the inclusion of the Uyghur Mukam in the list of intangible cultural heritage of mankind ^[20] .

The living conditions of mukam are very different. They sounded with a large crowd of people and accompanied calendar and family rituals, as well as "chamber" musical evenings in a narrow circle of listeners. The imaginative world of mukam is rich. They reflected the basic aesthetic and philosophical views of the people.

Mukamnaya tradition has developed as a multifaceted and genre-branched system of monody ^[21] , and Mukam himself has incorporated a huge variety of musical forms, styles of performing traditions. It combines an unwritten musical, written poetic, as well as dance beginnings.

Vocal-instrumental varieties of mukama contain various poetic texts: folk verses, dastans and samples of high classical oriental poetry. They could change depending on the level of development of the society, the repertoire of professional performers and the requirements of the listener. The interaction of mukama with the gazelle form, one of the most developed in the Near and Middle East, turned out to be especially fruitful.

The cycle historically developed in Uighur musical practice includes the Mukama Rak (Raq), Chapbayat (Chapbayat), Mushavirak (Mushavirek), Charigah (Charigah), Panjigah (Penjigah), Uzhal (Özhal), Ajam (Ejem), Oshshak (Oshshak) (Bayat), Nava (Nawa), Segah (Ségah), Iraq (Iraq) (sometimes in a different sequence). Mukams were to some extent influenced by the developed musical cultures of Indians , Persians , Arabs, and other neighboring peoples.

Each torment from the "Twelve Mukum" system, in turn, forms a complex independent cycle of a number of vocal, instrumental, and dance parts that have independent names and are united by a common Lado intonation base.

As you know, a characteristic feature of mukama is rooted in a rational combination of stable (canon) and mobile (improvisation) principles. In the Uigur Mukama, canonicalized are the mode organization, the sequence of parts and the type of contrast between the three large sections; the changing components are the improvisational elements of the flour moss, especially the introductory section of the mukama (free change of size, sophisticated rhythm, mobility of dynamics), form, as well as texts.

A typical poetic basis of the vocal and instrumental parts of mukama is folk lyric poems; samples of the best gazelles and murabas of the classics of oriental poetry - Lutfi, Saqqaki, Navoi , Zaleli, Novbati, Khuweida, Mashrab , Nizari, Garibi, Gumnam, Bilal Nazima; texts of famous poems and legends (dastans) - “Herip and Sanam”, “Khurlik and Hamrajan”, “Yusuf and Zuleiha”, “Yusuf and Ahmet”, “Tahir and Zohra”, as well as texts of spiritual content. The poems of professional poets are distinguished by their deep content, emotional richness, harmony and musicality.

In the texts of the Uigur Mukums written in the Aruz metric , the sizes of Ramal and Hazaj are most used. This is not accidental, since their popularity is explained by their proximity to the folklore Turkic rhythms. Navoi, pointing to the connection of these poetic dimensions with the rhythms of the melody, calls them songs. By the way, we recall that the Aruz penetrated the Uyghur musical art with the work of the Sazandars - folk - professional singers, who in their musical practice relied on Uyghur classical poetry.

The classic cycle “The Twelve Mukams” was created and polished by the Uyghur Mukists for several centuries. Creative development and improvement of the cycle took place by expanding the circle of melodies, transforming the structure of mukam. Musicians - nuggets - sazandars composed song-dance cycles close to mukam in style - sanamas (Kuchan, Khotan , etc.), songs, dastans to separate sections of mukam. In addition, mukams were created that were not included in the main cycle: they either existed independently, or were included in some parts of the local variants of the cycle. So, in the book of Ismatulla Namatulla Mojizi there is evidence that the excellent 16th-century mukamist Yusuf Kadirkhan Yarkendi (East Turkestan) composed the flour “Visal” ^[22] . He learned this torment with his students, among whom were musicians from Iran, India, Turkey and Central Asia. Mukam “Ishryat angiz”, authored by Amannisakhan ^[23] , was not widely used and did not survive, and like the Abu Shashma flour, it was not included in the main Uyghur cycle “Twelve Mukam”.

Evidence of the further development of mukam traditions is the creation in the 40s of our century of two mukam in the classical style: “Ruhsara” by the composer - melodist Zikri Alpitaev and “Dzharkentsky mukam” Nurmukhammet Nasirov.

The degree of talent and knowledge of the sazandars of flour material determined the peculiarities of the existence and spread of flour. In some places, one mukama from the cycle, in others - others. In addition, the same torment could exist simultaneously in different cities and be performed with preference for individual parts.

Since ancient times in the ancient city of Kumul (Hami) in East Turkestan, there are so-called “mashrap mukamas” ^[24] , a characteristic musical feature of which is the dance beginning: after laconic bashlanishi (the beginning of mukama), folk song-dance cycles follow - the sanamas who received the name "Kumul Sanam". The musical language of the Kumul flours, which is close to peasant melos, is vividly national in color, and their dances are very colorful and informative.

Kumul flours survived twelve, of which seven exist in two versions:

1. Dur (two options)
2. Ulugdur
3. Mustazar (two options)
4. Hupti (two options)
5. Chapbayat (two options)
6. Mushavirak (two options)
7. Uzhal (two options)
8. Iraq
9. Dolan Mushavirak
10. Cancer
11. Chargah (two options)
12. Arcs

The Uyghur scientist Abdushukur Muhammat Imin, in a book about Uyghur mukamas, lists two flour options that exist in the Dolan region, the Yarkend and Aksu people ^[25] . The cycles contain nine flours, and each flour consists of five parts - Mukam Bashlinshi, Chikitma, Sanam, Salikya (or Khozur), Salarmyan (or Cyrilma) ^{[26] [27]} .

I. Mukam Bashlinishi :

There are no mountains more proud
Than Ari-Bulaka mountains.
There is snow on their peaks
Downstairs are gardens and open spaces.

To the middle of the river
Tal leaned flexible
Where the swallow made a nest
Fast with a white breast.

Swallows necklace
White and pleasing to the eye.
At the orphan-miserable
There is no one but you.

II. Chiquitma :

Have you come for a date with me?
Did you come to destroy me?
Or my fire extinguishing
Have you come to brighten the fire again?

Not nice to me, sweetheart comes in
How would I hold her too
My look is cheerful and I
Having served tea, I will deceive her all the same.

For the sake of dear - at least take your life,
Only bind your hands first.
Let my fire go out completely
But invite her to execution.

III. Sanam :

A friend in the garden appeared
Throwing overseas shawl.
She seemed to me a flower
He lit the heat in my heart.

She approached me quietly.
Raising my soul, I'm glad.
And our dashing enemies
They tasted that joy of poison.

With my beloved, we bashed ourselves in plenty
On a field yellowed like copper.
Oh how good in the open
Sing a soulful song!

How can we not sing and praise
Dear our land,
You see: the suffering has passed
The time has come for fun.

IV. Hozur :

Hey you horses, you horses!
What are you looking from the wall
How low we were bent
Short-tailed ranks.

Hosting is the law.
That custom is familiar to everyone.
Only busy studying
Today, women are around.

Ravap Strings, hey
Spit, what is a sparrow?
Come to me, beauty
You are beautiful, do not be timid.

Despite the musical-dialectic and structural differences of the local variants of flour flour cycles typical of the Uigur melos, as well as their individual parts that exist in Kashgaria (south of East Turkestan), they most likely served as the basis for the origin of the classical Kashgar cycle “Twelve Mukums”, which reached our days. Unfortunately, not having at the moment the musical material, as well as the phonorecords of local variants of the Kumgar flourishes - Kumul, Dolan (Yarkend and Aksu), Khotan and Kuchan, we cannot compare them in detail.

A great contribution to the preservation, development and dissemination of the Kashgar cycle “The Twelve Mukums” was made by gifted mukists - the Sazandars, who are often the authors of mukums, and singers of the 19th-20th centuries, such as Jami Kashmir, his sons Elim and Selim, Akhunum Karushan, Muhammed Molla , Hassan - tambir ^[28] , Turdahun - alnagma, and later their students were tambourists - Rosie, Husayin, Jami, Barat, Abdulla Dumbak, composer Zikri Alpitaev, singer Abduvali Dzharullaev. Among them, Akhunum Karushan and Rosi - tyambir were especially distinguished by performing skills and pedagogical gift. They passed on their deep knowledge of the Uigur Mukums and professional performing skills to students. At Rosi-tyambir, the well-known mukamists, M. Khasanov, N. Nasirov, S. Razamov, G. Kadirkhadzhiev and K. Muhammetov, who restored the Uyghur flour cycle (Ili version), passed a good school of flour art. In the fifties of our century, the Kashgar cycle was recorded by the Chinese folklorist Van Tunshi in the city of Urumqi from the voices of the famous Uyghur Mukamists: the satarist Turdakhun - alnagma (1881-1956) and Rosie - tyambira (1900-1957) and published in Beijing ^{[29] [30]} .

It takes about a day of continuous sounding to complete the Kashgar cycle “Twelve Mukamas” ^[31] . Each torment consists of three large sections: Chon nagma, Dastan nagma, Mashrap nagma (see: # Glossary ) They, in turn, are divided into smaller plays. In one mukama there are from 20 to 30. The entire Kashgar cycle contains a total of 242 different pieces of music.

Chon nagma is the most voluminous section of mukama — it consists of the following parts: Mukam baslanishi, Tazya and his margul ^[32] , Nuskhia and his margul, Salikya and his margul, Jola, Sanam, Pyatrush, Takt, Hatimya. The middle section of mukama - Dastan Nagma - includes from three to five dastans with their marguls. The final section - Mashrap Nagma - includes from three to six song-dance numbers without marguls.

The active existence of the Kashgar cycle in the Ili region ^[33] and Semirechye led to the appearance of its Iliysk variant, which has its own “musical dialect”. Its main difference from the main cycle is the laconicism of the form, which arose as a result of the reduction of the initial section of Chon nagma, in which only Mukam Bashlinishi remained. In the Iliysky version of Iraq - the last torment - is often called Husseini. The exception is Uzkal torment, where Dastan Nagma contains two given sections - Nalyash I and Nalyash II and Chargakh torment, which, on the contrary, does not have this middle section ^[34] .

The transformation of the cycle could occur, firstly, due to the fact that in the Ili Territory and Semirechye there were only a handful of experts in the genre - Mukumists, who could not keep in mind such a large-scale and complex musical material; secondly, because mukamas began to be performed most often at weddings and mashraps, when the conditions themselves dictated the reduction of the slow parts and, conversely, the development of festive, temperamental and fast dance parts of mukamas - Mashrap Nagma.

For a clear comparison of the classical Kashgar cycle with its Iliysky variant, we give two schemes of the Cancer mukama.

Mukama, beloved by the people, occupy a significant place in the repertoire of Sazandars. Among the Soviet Uighurs, the Ili version of the cycle “Twelve Mukams” gained great popularity.

Not a single holiday of dekhkans harvest is complete without the execution of mukama. Mukams are heard not only at wedding ceremonies and mashraps, but also during folk celebrations, in clubs and on theatrical stages. Young people are close and understandable mukam Chapbayat, Mushavirak, Pyanjigah, Oshshak and Bayat, characterized by optimistic and perky sound, and older people prefer restrained, majestically solemn mukam, such as Cancer, Ajam, Nava, Iraq.

Mukamist chamber instrumental ensembles come in various compositions, but more often they include tambir , satar , dutar , ravap , gijak , nai , dap , sapai and tevilvaz . In modern flour ensembles, Afghan ravap is sometimes included as bass.

In the performance of the second and third sections of mukama, the full composition of the instrumental ensemble is usually involved, but often (especially in marguls) solos of such instruments as, for example, nai, gijak, chang , tambir, dap are played.

The performance of the Uigur mukums requires the musicians to be proficient in professional technical skills and high artistic taste. As you know, various singers and sazandars have their own style of singing or playing a folk instrument. Each of them, trying to make the most of his performing abilities, makes small changes to the melody. For example, the Ili style is more chanting and lingering compared to the Kashgar one, and the Dolan one is more pronounced.

High performing technique is combined with the finest nuances of Kuldzhin and Kashgar singers. This is due to the reliance on a more ancient tradition that has survived to such talented Mukamist singers as Honored Artists of the Uzbek SSR Halishkhan Kadyrova and Abdirim Akhmadiev, Kadir Razi Muhammetov, Sultan Mametov, People’s Artist of the Kazakh SSR Nurbuvi Mametova, and artists Shaydakame Tolegametov Tamegamet Tolegame Ayturgan Khasanova, Seyitjan Hamraev. При непрерывной преемственности национальных музыкальных традиций и их вековом отборе в современной исполнительской практике этих мукамистов сохранилось самое лучшее.

В Казахстане , Узбекистане и Киргизии , где проживает много уйгуров, существуют профессиональные и любительские ансамбли мукамистов. За последние годы многое делается для популяризации мукамов. Они постоянно включаются в репертуар уйгурских народных ансамблей, в программы музыкальных передач радио и телевидения республик Средней Азии и Казахстана, звучат в театральных постановках ^[35] .

В деле сохранения, развития и пропаганды «Двенадцати мукамов» велики заслуги двух профессиональных национальных ансамблей мукамистов — бывшего Уйгурского ансамбля песни и танца при Госкомитете телевидения и радиовещания УзССР в Ташкенте , фольклорного ансамбля «Нава» в Алма-Ате при Республиканском уйгурском театре музыкальной комедии.

Творческое использование мукамов уйгурскими композиторами открывает широкие возможности для создания современных профессиональных музыкальных полотен ^[36] .

Отрывок из мукама:

Машрап нагма (мәшрәп нәғмә) — 1) танцевальная музыка; 2) название заключительного раздела уйгурского мукама.

Маргул (мәрғул) — 1) трель; 2) инструментальная интермедия — часть из среднего раздела уйгурского мукама.

Нагма (Нәғмә) — 1) музыка, мелодия; 2) Звук, музыкальный тон; 3) Инструментальный наигрыш.

Рак — 1) Вселенная; 2) место (восхождения наук и сборник знаний); 3) грань, сторона, ребро; 4) черта, полоса, линия; 5)наименование мукама.

Рухсар — 1) щека; 2) наименование мукама.

• Мугам

• Тамара Алибакиева. Двенадцать уйгурских мукамов. — Алма-Ата: Өнер, 1988.