Gotowe bibliografie tematyczne / Dutār music

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  1. Artykuły w czasopismach
  2. Książki

Gotowa bibliografia na temat „Dutār music”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Dutār music"

1

Baily, John. "Amin-e Diwaneh: the musician as madman". Popular Music 7, nr 2 (maj 1988): 133–46. http://dx.doi.org/10.1017/s0261143000002713.

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While engaged in research on the long-necked lute called Herati dutār in 1974, I was frequently told about a virtuoso dutāri (dutār player) who had died a few years earlier after a fight with a gang of ‘thugs’ in the city of Kandahar. His name was Amin-e Diwaneh. The Persian word diwāneh means ‘crazy’, and was applied to people who (in terms of Western psychiatry) might be classed as ‘insane’, though the cause of insanity was usually attributed to spirit possession. Diwāneh was also a description for individuals who were particularly erratic in their behaviour, and was often used affectionately. Amin the dutāri was such a person.
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2

Durdona, Shodmonova. "Khorezm Dutor Moments". American Journal of Applied sciences 03, nr 04 (30.04.2021): 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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3

Baltayev, Umid Rustamovich. "The Role And Importance Of Using Dutor As Makom Instrument In Developing Students’ Aesthetic Qualities At Specialized Music Schools". American Journal of Interdisciplinary Innovations and Research 03, nr 05 (7.05.2021): 18–22. http://dx.doi.org/10.37547/tajiir/volume03issue05-04.

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This article provides information about the role and importance of the dutor in developing the moral aesthetic features of the students at specialized music schools through the use of dutor as makom instruments.
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4

Khandamian, Victor, i Abdulaziz Khasanov. "Building a Library of Samples (Kontakt) of The Uzbek Traditional Dutar". Eurasian music science journal, nr 1 (30.05.2021): 45–52. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/53.

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Sample libraries are one of the most popular music technologies in the modern world for the recreation of instruments in the digital environment.Sample library development is a rapidly growing branch of music technology. This article examines the stages of creating a library of a traditional Uzbek dutar. Particular attention is paid to methods for achieving realistic instrument sound in the digital field.
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5

Muminova, Zulfiyakhon. "DUTAR IN THE WORKS OF UZBEK COMPOSERS AND BASTAKORS (based on the 21st century)". Central Asian Journal of Art Studies 9, nr 2 (12.07.2023). http://dx.doi.org/10.47940/cajas.v9i2.694.

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Abstract. This article focuses on the professional development of the dutar performance school and explores its possibilities. Dutar performance stands out for its extensive repertoire, versatile performance opportunities in traditional and academic contexts, and the diverse range of national performance styles. The instrument enables musicians to learn and perform not only Uzbek and related peoples' folk songs but also works by Eastern and European composers, showcasing the global reach of world music. Similar instruments to the dutar have a widespread presence among the peoples of the Central Asian region, underscoring the longstanding friendship and cultural cooperation between these nations with shared roots. However, the unique identity and historical phenomena of each nation are not only reflected in the external appearance of instruments but also in their distinct voice, style, and performance programs. Therefore, it is crucial to pay attention not only to the musicians' contributions but also to the works of composers. The article presents analytical insights into the performance methods employed in works that continue the mentorship tradition in the art of instrumental performance on the dutar, composed by Uzbek bastakors (composers).
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6

SABİROVA, Nasiba. "The Period of Development of Khorezm Minstrel Traditions". ULUSLARARASI TÜRK LEHÇE ARAŞTIRMALARI DERGİSİ (TÜRKLAD), 3.06.2022. http://dx.doi.org/10.30563/turklad.1069020.

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This article discusses the latest developments in the art of minstrel. It is also known that the parishioners in Khorezm were a form of shamanism and shamanism was one of the earliest stages in the formation of the art of bakhshi. In particular, the article emphasizes that in the researches of A. N. Samoilovich the Khorezm bakhshis sang book epics, played the dutar, bulamon. The deification of the Bakhshi people is due to their high memory and the fact that they have a word. It is believed that the recitation of epics by drummers dates back to the 10th and 11th centuries. This phenomenon may be more ancient. The first person in Khorezm to be considered a bakhshi and a piri of bakhshis (1115-1191) was Oshiq Aydin (Oshugiddin Umar Sukhravardi), who is still the patron saint of bakhshis. His personality is also deified. According to historical sources, Oshik Aydin was a master of words and phrases and at the same time a statesman. He also wrote a pamphlet on music. Considering that he lived during the reign of the Khorezm kings, it is possible to understand that the art of bakhshi was developed at that time. After the love affair, Aydin Pir became the father of ozon, shaman and bakhshi Korkut, who became famous in the Turkic world. It is said that the 19th and early 20th centuries were the heyday of Khorezm bakhshi art.
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Książki na temat "Dutār music"

1

Mylly Tachmuradov. Moskva: Sovetskiĭ kompozitor, 1986.

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2

Merchant, Tanya. Ancient Treasures, Modernized. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0003.

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This chapter examines the role of women in the arranged folk music in Uzbekistan in the post-Soviet era. It looks at the rhetoric of Ro'za opa and her students, which focuses much more on musical literacy, virtuosity, and international standards. These priorities stem from the emancipatory impetus, during the Soviet period, to include women in the ethnonational project of creating folk orchestras. The chapter begins with a discussion of the assumptions of youth and femininity associated with certain dutar ensembles. It then traces the origins of dutar ensembles as they share history with similar ensembles from other former Soviet republics. It also presents the accounts of three prominent women musicians of the Soviet period: Faizila Shukurova, Firuza Abdurahimova, and Ro'zibi Hodjayeva. Finally, it considers the importance of Western art music to Tashkent's soundscape, and role that women play in this.
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3

Merchant, Tanya. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0001.

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This book explores issues of gender performance and national identity as they are personalized and individualized and then themselves performed by women musicians of Uzbekistan. It considers the rich relationship that dutar music has with women's culture and history in Uzbekistan but shows that the performance of national identity, of femininity, and of a sense of tradition that engaged the modern world was not limited to the dutar but encompassed a wide range of professional musical activities. The book demonstrates the central place of women in the musical project of nationalism, not only as symbols but also as agents, actors, and innovators; they are the drivers of much of the musical activity that supports Uzbekistan's new national project and they engage in a variety of strategies of identity to make a place for themselves in these musical styles, musical worlds, and, ultimately, in Uzbekistan.
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4

Merchant, Tanya. Beyond the Canon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0002.

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This chapter examines traditional music as a means to construct a cohesive pre-Soviet past in Uzbekistan. Traditional music encompasses three maqom traditions with roots in cities that currently exist within the borders of Uzbekistan: Xorazm maqom, Shashmaqom, and Tashkent-Ferghana maqom. The chapter first considers the history of the construction of the canon of traditional music in Uzbek institutions before discussing traditional music and maqom's links to nationalism in the city of Tashkent. It then looks at women's roles performing the great works in the maqom tradition, along with two masters of this tradition, Yunus Rajabi and Munojat Yulchieva. It also explores the role of maqom in the shift in cultural capital in Uzbekistan after independence. The chapter concludes with an assessment of dutar ensembles as an area of contested gender identity that is very much context dependent.
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