Opera, ballet, orchestral and chamber music.

From the time of the conquest of Central Asia and its union with Russia in 1868 Russian culture began to penetrate the area. In 1884 a musical society was formed in Tashkent, comprising a symphony orchestra, a choir, vocal soloists and instrumentalists. The study of the region's musical heritage began at the close of the 19th century, laying the foundations for Uzbek musical folklorism, and after the October Revolution ‘national’ culture was inaugurated by cultural strategists. From 1917 to 1932, the first music teaching institutes were opened and there was a broad development in recording and reworking of the Uzbek musical heritage. In June 1918, on the initiative of the musicians M. Mironov, V. Karelin and V. Uspensky, the Turkestani People's Conservatory was established in Tashkent, which from 1936 became the Tashkent State Conservatory. Similar conservatories were founded in Bukhara, Samarkand and Fergana.

An important role in the development of musical education in Uzbekistan was played by the Shazq Musiqa Maqtabi (‘School of Oriental Music’) in Bukhara. Leading singers, instrumentalists and experts on musical heritage, such as Ota Dzhalol Nasïrov, Domulla Khalim Ibadov and Ota Giyas Abdugani, acquired the skill of performing Shashmakom there. Also many future famous musicians of Uzbekistan and Tajikistan studied there, including Mukhtar Ashrafi, F. Shakhobov and Sh. Sakhibov.

A significant contribution to the development of Western art music in Uzbekistan was provided by Russian composers such as Uspensky, B. Nadezhdin, R. Glière, N. Roslavets, S. Vasilenko, A. Kozlovsky and G. Mushel'.

The foundation of the Composers' Union of Uzbekistan in 1938 was highly significant for the training of future specialists. Its members included professionals with long experience as composers or musicologists (Uspensky, Kozlovsky and Ye. Romanovskaya), musicians who were then young (I. Akbarov, M. Ashrafi and T. Sadïkov) and representatives of traditional folk music (T. Dzhalilov and Yu. Radzhabi) called Bastaqor.

The development of music drama in the republic in the 1930s led at the end of the decade to the writing of the first Uzbek operas. These were Buran (‘The Snowstorm’) by Ashrafi and Vasilenko (1938) and Leyli i Mejnun by Glière and Sadïkov (1940). In 1941, Ashrafi and Vasilenko wrote the opera Velikiy kanal (‘The Grand Canal’) on a contemporary theme: the building of the Ferghana Canal.

The most significant of the operas written in the republic during World War II are Ulugbek (1942) by Kozlovsky and Makhmud Tarabi (1944) by O. Chishko. The war years marked an enormous development in Uzbek musical life in the fields of musical education, performance and composition.

In 1943 and 1944 Mukhtar Ashrafi composed the first two symphonies written by an Uzbek composer: Geroicheskaya (‘Heroic’) and Slava pobedi-telyam (‘To the glory of winners’).

These first Uzbek symphonies were programmatic. In the postwar years symphonic music became one of the leading areas of composition. Along with symphonic suites there emerged poems, cantatas, symphonies, piano concertos and so forth. Brilliant young Uzbek composers of the 1960s and 70s included Khamrayev, Kurbanov, Jalil, Makhmudov, Tajiyev and Abdullayev. The most mature works are the symphonies of Tajiyev, Makhmudov and Abdullayev.

The establishment of the Uzbek symphonies began in the postwar period, particularly in the 1960s and 70s, when the national style was combined with ‘new traditions’ in all genres of Uzbek music. Given the need for adoption of polyphony by a previously monodic culture, the significance of symphonic music and the symphony orchestra acquired a symbolic status. It was deemed to be important that the ‘new traditions’ were born on the basis of the old, since this allowed continuity of the work itself and, to a great extent, the psychology of its acceptance. The most significant have been Symphonicheskye zasskasy (‘The symphonies stories’) by I. Akbarov (1972), and the third and fourth symphonies of Tajiev (1927, 1975).

Vocal symphonic music, oratorios and cantatas have undergone great development in Uzbekistan. The most significant have been Ashrafi's Pesn' o schast'ye (‘Song of Happiness’, 1951); R. Vil'danov's Voydite v mir (‘Enter the World’, 1961); S. Yudakov's Pamyati Lenina (‘In Memory of Lenin’, 1961); F. Yanov-Yanovsky's oratorio Golos (‘The Voice’); N. Zakirov's Oktyabr' (‘October’); and Chorus a cappella (1954) by M. Buzhanov.

Much vocal symphonic music was written in the following years by such composers as R. Vil'danov, A. Malakhov, Yanov-Yanovsky, Kh. Rakhimov, I. Khamrayev, F. Nazarov, Sh. Shaymardanov, M.M. Burkhanov, Akbarov and N. Zakirov. In 1974 M. Ashrafi's last piece was performed: an oratorio entitled Skazaniye o Rustame (‘The Lay of Rustam’), based on A. Firdousi's poem Shakh-namė.

In 1947 the Uzbek State Academic Grand Theatre of Opera and Ballet was based in Tashkent, giving a platform to many leading performers, including the singers M. Kari-Yakubov, K. Zakirov, Kh. Nasïrova, S. Yarashev, N. Khashimov and S. Kabulova; and the conductors Ashrafi, B. Inoyatov, A. Abdukayumov, F. Shamsutdinov, D. Abdurakhmanova.

Many operas and ballets by Uzbek composers have been performed in this theatre. The most famous are the operas Dilorom (1958) and Serdtse poėta (‘The Heart of the Poet’, 1962) by Ashrafi, Maisaraningishi (‘Maysara's Pranks’, 1959) by S. Yudakov, Kasïda ‘Alisheru Navoi’ by M. Burkhanov and Leopard iz Sogdianï (‘The Leopard from Sogdiana’, 1977) by Akbarov, and the ballets Amulet lyubvi (‘The Amulet of Love’, 1970), Lyubov' i mech (‘Love and the Sword’, 1974), V doline legend (‘In the Valley of Legends’, 1977) and Tomaris by U. Musayev.

The centre of the republic's concert-going life is the Uzbek State Philharmonia (1936) and Uzbek State Symphony Orchestra, developed under conductors such as P. Shpital'ny, Kozlovsky, Ashrafi, N. Alimov and K. Usmanov. Since the mid-1960s the orchestra has been headed by Z. Khaknazarov.

Uzbek composers have mastered all genres of modern music and since the 1970s a new generation of composers has begun to flower: N. Giyasov, R. Abdullayev, Kh. Rakhimov, A. Mansurov, A. Malakhov, R. Vil'danov and Yanov-Yanovsky, strengthening the music development by form and dramatic evolutions.

BIBLIOGRAPHY

And other resources

V. Uspensky: Shashmakom (Moscow, 1924)

B. Raxman-Ugli and M.I. Divan-Zade: Khorazm musiki tarikhchasi [An outline of the history of Khorezm's music] (Moscow, 1925)

A. Fitrat: Ozbek klassik musikasi vauning tarikhi [Uzbek classical music and its history] (Samarkand, 1927); repubd in Cyrillic script (Tashkent, 1993)

V.M. Belyayev: Muzïkal'nïye instrumentï uzbekistana (Moscow, 1933)

V.M. Belyayev, ed.: Shashmakom (Moscow, 1950–67)

I.A. Akbarov and others: Uzbek khalqmuzikasi/Uzbekskaya narodnaya muzïka (Tashkent, 1954–62)

E.E. Romanovskaya: Stat'i i dokladï: zapisi muzïkal'nogo fol'klora [Articles and lectures: notations of musical folklore] (Tashkent, 1957)

K. Olimbayeva and M. Akhmedov: Narodnïye muzïkantï uzbekistana [Folk musicians of Uzbekistan], i (Tashkent, 1959)

V. M. Belyayev: Ocherki po istorii muzïki narodov SSSR [Sketches of the music history of the peoples of the USSR], i (Moscow, 1962); Eng. trans. as Central Asian Music, ed. M. and G. Slobin (Middletown, CT, 1975)

Muzïkal'naya fol'kloristika v uzbekistane (pervïye zapisi): August Eykhgorn: muzïkal'no-ėtnograficheskiye materialï [Musical folkloristics in Uzbekistan (first notations): August Eichhorn: musical-ethnographic material] (Tashkent, 1963)

I. Rajabov: Makomlar masalasiga doir [Towards questions concerning the makom] (Tashkent, 1963)

F.M. Karomatov: O lokal'nïkh stilyakh uzbekskoy narodnoy muzïki [On the regional styles of Uzbek folk music] (Moscow, 1964); Eng. trans. in Asian Music, iv/1 (1972), 48–58 [Near East-Turkestan issue]

N.A. Avedova: Iskusstvo oformleniya uzbekskikh muzïkal'nïkh instrumentov [The art of decorating Uzbek musical instruments] (Tashkent, 1966)

F.M. Karomatov and I. Rajaboy eds.: Shash Makom (Tashkent, 1966–75); Eng. trans. of preface in Asian Music, xiii/1 (1982), 97–118

N.K. Chadwick and V. Zhirmunsky: Oral Epics of Central Asia (Cambridge, 1969)

F.M. Karomatov: Uzbekskaya instrumental'naya muzïka (Tashkent, 1972)

T. Vïzgo and others: Istoriya uzbekskoy sovetskoy muzïki (Tashkent, 1972)

K. Olimbayeva, and others: Özbekistān khalk sozandalari [Folk musicians of Uzbekistan], ii (Tashkent, 1974)

G.P. Snesarev and V.N. Vasilov, eds.: Domusul'manskiye verovaniya i obryadï v Sredney Azii [Pre-Islamic beliefs and rituals in Central Asia] (Moscow, 1975)

B.Kh. Karmïsheva: Ocherki ėtnicheskoy istorii yuzhnïkh rayonov Tadzhikistana i Uzbekistana [Sketches of the ethnic history of the south regions of Tajikistan and Uzbekistan] (Moscow, 1976)

Y. Rajabi: Muzika merosimizga bir nazar [A view of our musical heritage] (Tashkent, 1978)

I.A. Akbarov, ed.: Khorazm makomlari [coll. by M. Yusupov] (Tashkent, 1980–87)

T.E. Solomonova, ed.: Uzbek muzikasi tarikhi [Uzbek musical history] (Tashkent, 1981)

L. Rempel: Dalyokoye i blizkoye: stranitsï zhizni, bïta, stroitel'nogo dela, remesla i iskusstva Staroy Bukharï [Far and near: pages from the everyday life, architecture, handicraft, and art of old Bukhara] (Tashkent, 1982)

W. Feldman: ‘The Motif-Line in the Uzbek Oral Epic’, Ural-Altaische Jb, lv (1983), 1–15

F.M. Karomatov: ‘Uzbek Instrumental Music’ Asian Music, xv/1 (1983), 11–53

T. Levin: The Music and Tradition of the Bukharan Shashmakoām in Soviet Uzbekistan (diss., Princeton U., 1984)

A. Jung: Ouellen der traditionellen Kunstmusik der Usbeken und Tadshiken Mittelasiens (Hamburg, 1989)

A. Jung: ‘The Makoām Principle and the Cyclic Principle in the Uzbek-Tajik Shashmakom’, Makoām, Raga, Zeilenmelodik: Konzeptionen und Prinzipien der Musikproduktion, ed. J. Elsner (Berlin, 1989), 200–15

Z.M. Tadzhikova: ‘K voprosu o muzïkal'nïkh traditsiyakh bukharskikh mavrigikhanov’, Kniga Barbada: ėpokha i traditsii kul'turï (Dushanbe, 1989)

L.G. Koval: Intonirovaniye uzbekskoy traditsionnoy muzïki [The intonation of Uzbek traditional music] (Tashkent, 1990)

J. Elsner and G. Jähnichen, eds.: Regionale makoām-Traditionen in Geschichte und Gegenwart (Berlin, 1992)

K. Reichl: Turkic Oral Epic Poetry: Traditions, Forms, Poetic Structure (New York, 1992)

A. Djumaev: ‘Power Structures, Culture Policy, and Traditional Music in Soviet Central Asia’, Yearbook for Traditional Music, xxv (1993), 43–50

R. Abdullayev: Obryadovaya muzïka Tsentral'noy Azii [Ritual music of Central Asia] (Tashkent, 1994)

D. DeWeese: Islamization and Native Religion in the Golden Horde: Baba Tükles and Conversion to Islam in Historical and Epic Tradition (University Park, PA, 1994)

R. Sultanova: Poyushcheye slovo uzbekskikh obryadov [The singing word of Uzbek rituals] (Tashkent, 1994)

R. Sultanova: ‘Rhythms of Central Asian Traditional Music through the Prism of Aruz Poetic Meters’, Bamberger Zentralasienstudien, ed. I. Baldauf, and M. Friederich (Berlin, 1994), 217–22

T.E. Solomonova, ed.: Istorii muzïki Sredney Azii i Kazakhstana: uchebnoye posobiye dlya konservatorii [A history of music of Central Asia and Kazakhstan: textbook for conservatories] (Moscow, 1995)

T. Levin: The Hundred Thousand Fools of God: Musical Travels in Central Asia (and Queens, New York) (Bloomington, IN, (1996) [incl. CD]

W. Feldman: ‘Two Performances of the Return of Alpamish: Current Performance-Practice in the Uzbek Oral Epic of the Sherabad School’, Oral Tradition, xi (1997)

R. Sultanova: Ritmika vokal'nykh chastei shashmakoma

Recordings

Bukhara: Musical Crossroads of Asia, Folkways SF-40050 (1991)

Music of the Bukharan Jewish Ensemble Shashmaqām, Folkways SF-40054 (1991)

Central Asia: Asie Centrale the Masters of the Dotâr, CD735 VDE GALLO les maîtres du dotâr (1993)

Alma-alma, perf. Y. Usmanova, Blue Flame 398 40572 (1993)

Asie Centrale: traditions classiques, Ocora C 560035/36 (1993)

Ouzbekistan: Monat Yultchieva, Ocora C 560060 (1994)

Jannona, perf. Y. Usmanova, Blue Flame 398 40772 (1995)

Ouzbekistan: Turgun Alimatov, Ocora C 560086 (1995)

The Beard of the Camel, perf. Ensemble Yalla, Imagina 70950-11010-2-4 (1995)

Binfascha, perf. Y. Usmanova, Blue Flame 398 40852 (1996)

Uzbekistan: Music of Khorezm, Auvidis D 8269 (1996)

Matlubeh: the Turquoise of Samarkand, Long Distance 122039 WM332 (1996)

A Musical Journey through Uzbekistan: from Samarkand to Bukhara, Long Distance (1996)

At the Bazaar of Love: Timeless Central Asian Maqam Music, Ilyas Malayev Ensemble, Schanachie 64081 (1997)

Ouzbékistan/Uzbekistan: musique classique instrumentale/Instrumental art music, VDE SALLO CD-974 (1998)

Uzoigwe, Joshua

(b Ogidi, 1 Jan 1946). Nigerian composer. After studying music at the University of Ibadan, Nsukka (diploma, 1973), he pursued graduate studies at Trinity College of Music (diploma, 1977). His completion of an MA in ethnomusicology at Queen’s University, Belfast, studying with John Blacking, marked an important shift in Uzoigwe’s theoretical background. In his works completed at Ibadan, notably the Igbo Songs (1972–3), he established as an important compositional trait the conscious application of Igbo instruments and performing practices, further reinforced through his systematic study of Igbo musical traditions in his doctoral dissertation. Such influences include the tonal properties of Igbo flutes, xylophones and drums, elements of improvisation within an aleatory framework and time-line patterns. Uzoigwe writes solely for African instruments in such works as Ritual Process (1980), solely for Western ones, as in Watermaid (1983), and for a combination of African and Western, as in Masquerade (1980). As well as the influence of Akin Euba on Uzoigwe’s theoretical and creative works, elements of the ‘African pianism’ espoused by Euba appear in Uzoigwe’s piano writing. Uzoigwe has held senior lecturing positions at Nigerian universities.

WORKS

(selective list)

Inst: Lustra Variations, 1976; 4 Nigerian Dances, 1976; Sketches, 1977; Masquerade, pf, tension drum, 1980; Ritual Process, African orch, 1980; Fanfare, wind orch, 1981; Oja, wind qnt, 1982

Vocal: 4 Igbo Songs, 1v, pf, maracas, 1972; 2 Igbo Songs, 1v, pf, 1973; Watermaid, S, orch, 1983; Siren Limits (C. Okigbo), chorus

MSS in Iwalewa-Haus, U. of Bayreuth

WRITINGS

The Compositional Techniques of Ukom Music of South-Eastern Nigeria (diss., Queen’s U. of Belfast, 1981)

Akin Euba: an Introduction to the Life and Music of a Nigerian Composer (Bayreuth, 1992)

DANIEL AVORGBEDOR

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