DEVELOPMENT OF RUBOB INSTRUMENT AND PERFORMANCE IN THE SYSTEM OF UZBEKISTAN MUSICAL CULTURE

ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 833 DEVELOPMENT OF RUBOB INSTRUMENT AND PERFORMANCE IN THE SYSTEM OF UZBEKISTAN MUSICAL CULTURE Sherbek Atoyev Department of Music Performance and Culture, Bukh.DU, specialty "Instrumental Performance (Traditional Instruments), Master's degree, 1st cycle Scientific supervisor: B.I. Mustafayev, professor Abstract: the article presents the opinions of musicologists and scholars on the role of the rubab instrument in the system of Uzbek musical culture, the qashqar rubab, its specific features, schools, and the essence and significance of the development of musical performance. Keywords: musical culture, national music, Uzbek musicology, rubab instrument, Bukhara rubab, development of performance, ensemble and orchestra, modern words. The roots of the musical culture of the Uzbek people are very ancient, and it has been enriched and developed for centuries. In this historical process, folk instruments have served as an important tool in preserving national musical traditions and passing them on from generation to generation. Among these instruments, the rubab occupies a special place. It is not only an integral part of our national music, but also an important word in the cultural heritage of the peoples of Central Asia. The word "rubab" comes from the Arabic word "rabab" or "rubab", which means "stringed sound", "stringed sound". Information about this word is found in early sources as early as the 8th-9th centuries. Scientific ideas and descriptions of the rubab are also presented in the works of oriental scholars such as Abu Nasr Al-Farabi, Ibn Sina, and Abdurahman Jami. The scientific description of the ancient Qashqar rubab states that its number of strings is usually 3 or 4 strings. It is made of mulberry or walnut wood. Its sound is soft, mellow, and has a "speaking" quality, and the method of performance is in the plucked method, often used in accompaniment to lyrical songs. A number of wise men and musicologists have expressed important opinions about the Qashqar rubab in scientific and historical sources at different times. For example, Abu Nasr al-Farabi (9th–10th centuries) gave a general description of the rubab in his work “Kitab al-musiqi al-kabir”: “The rubab is a stringed instrument that produces the closest sound to the human voice among stringed instruments. Its sound is lively and impressive, and evokes a sense of elegance.” Also, Abdurahman Jami (15th century) in his work “Risalayi musiqiy”, Zakhiriddin Muhammad Babur (16th century) in his work “Baburnama”, and Hafiz Tanish Bukhari (16th century) in his works “Abdullanama” emphasized that the qashqar rubab was highly valued at court banquets, that its sound was charming and easy to play, its delicate sound harmonized with the tanbur and flute, and that love and romance melodies were often performed on this instrument. In historical and modern sources, the Qashqar rubab is described as a melodious and lyrical instrument, expressive of the traditions of Fergana and Turkestan, and playing an important role in instrumental ensembles. Due to its closeness to the human voice, it has always been close to the hearts of the people. ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 834 There are several types of rubab in the system of Uzbek folk instruments, which differ from each other in terms of their territory, school and traditions: Bukhara rubab - most often used in the Bukhara and Samarkand regions. It is distinguished by its unique thin, attractive sound. Kashqar rubab is widespread in the Fergana Valley. It has a wide sound range, is easy to play and is used in the performance of lyrical melodies. Afghan rubab - a multi-stringed, multi-resonator melodious instrument, which was also used in the southern regions of Uzbekistan. Estrada or chamber rubab is a new form of music adapted to academic music performance after the second half of the 20th century. In the second half of the 20th century, the rubab was included in orchestras and ensembles, expanding its performance capabilities. Special academic programs, exercises, and repertoires were created for the rubab. Rubab classes were opened in conservatories and music schools, giving the younger generation the opportunity to study this instrument in depth. The Qashqar rubab is particularly recognized in 20th-century Uzbek musicology. Dostonbek Abdullayev[1] analyzes “the history and formation of the Qashqar rubab, its organology (materials: walnut, marvon or mulberry; leather with which the container is covered), its types, and its current development.” Musicologist O. Sultanov[2] describes the Qashqar rubab as follows: “The Qashqar rubab is a musical instrument that was formed in the Fergana Valley, which is gentle in sound and has a wide range of expressive possibilities without words. It has a deeper timbre than the dutor and is mainly used in the performance of lyrical melodies. In his article, Bekzod Davronov [3] emphasizes the pedagogical and cultural significance of the qashqar rubab, analyzing the role of the musical instrument in the educational process, teaching technologies, and the role and significance of the instrument in the formation and development of national musical culture among students. Nuriddin Tokhtaboyev[4] gives a modern definition of the qashqar rubab: “The qashqar rubab is a symbol of elegance and emotion in the system of Uzbek instruments. The resonator construction and sound power harmonize it with vocal traditions. Therefore, it occupies a leading place in the performance of the Fergana-Tashkent school.” In the culture of musical performance, there are traditions and schools of rubab performance. Several schools have been formed in Uzbek rubab performance: the Bukhara school is a scientifically based style based on the maqom system, the Fergana-Tashkent school is distinguished by lyrical, dance-like and lively melodies. The Khorezm school has a vibrant performance tradition associated with local dances and songs. Many famous performers have graduated from these schools. In particular, musicians such as Ari Bobokhonov, Mansur Toshmatov, Husnitdin Hojiboyev, Abdurashid Yuldoshev have raised the art of rubab performance to a new level. Rubab is often performed in ensembles with national instruments such as dutor, tanbur, flute, and doyra. Due to its closeness to the human voice, singers often use the rhythm of the Qashqar rubab when performing vocal works. Nowadays, rubab is not only a folk It is widely used in ensembles, but also in symphony orchestras, pop groups, and live concert stages. Modern musicians are also working on increasing its acoustic capabilities, microphones, and electrification. The educational value of the Kashgar rubab is also recognized. Because the rubab is not only a musical instrument, but also a symbol of the national pride of the people, tradition, and aesthetic ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 835 pleasure. It instills in young people a sense of elegance, patience, love, and respect for national values. Each rubab melody expresses the inner feelings, psyche, and cultural outlook of the people. In conclusion, it should be noted that in the system of Uzbek folk instruments, the rubab occupies an important place as a symbol of elegance, the charm of wordless expression. Rubab is not only a word, but also the language of the soul, the melody of the heart, an incomparable symbol of the cultural heritage of the people. Its historical development, development in traditional performing schools and modern directions are evidence of the stability and richness of our national musical culture. Literature 1. Абдуллаев Д. “QASHQAR RUBOB: HISTORY AND TYPES OF INSTRUMENT” (International Bulletin of Applied Science and Technology, 2022, с.20–24. 2. 2. Султонов О. Ўзбек халқ чолғулари тарихи. -Тошкент, 1980 й. 3. 3.Davronov B. D. Organizing Lessons for Students Using Art-Pedagogical Technologies (example of Kashgar rubab).” Multidisciplinary Journal of Science and Technology, 4(12), 2024, pp.652–657. 4. 4.Тўхтабоев Н. Ўзбек чолғу ижрочилиги анъаналари. - Тошкент 2015. 5. Mustafayev B.I. Maktabda musiqiy ta’lim faoliyatlarini tashkil etishda zamonaviy yondashuvlar. Ilmiy-nazariy va metodik jurnal INTER EDUCATION & GLOBAL STUDY. ISSN 2992-9024 (online) 2025, vol.3. - B.175-184. 6. Mustafayev B. I. Musiqa ta’limi o‘qituvchilarining kasbiy kompetensiyalarini rivojlantirishda innovatsion axborot texnologiyalarning roli. “Ta’lim va innovatsion tadqiqotlar” халқаро илмий-методик журнал. № 9. 2025.- Б.222-225. 7. Mustafayev B. I. Musiqa ta’limi o‘qituvchilarining kasbiy kompetensiyalarini rivojlantirishda innovatsion axborot texnologiyalarning roli. “Ta’lim va innovatsion tadqiqotlar” халқаро илмий-методик журнал. № 9. 2025.- Б.222-225. 8. Мустафаев, Бахтиёр Ибрагимович. "Некоторые вопросы развития профессиональных навыков учителя музыкальной культуры." Academy 11 (62) (2020): 47-50. 9. Мустафаев, Б. И., & Нуруллаев, Б. Г. (2021). ОБРАЗОВАТЕЛЬНОЕ ЗНАЧЕНИЕ ОБУЧЕНИЯ ДЕТСКИМ НАРОДНЫМ ПЕСНЯМ В СИСТЕМЕ МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ. Academy, (3 (66)), 45-47. 10. Мустафоев, Б. И., & Самиева, М. А. (2021). БУХАРСКИЕ ДРЕВНИЕ МУЗЫКАЛЬНЫЕ ГРУППЫ-СРЕДСТВО ОБРАЗОВАНИЯ. European science, (2 (58)), 26-28. 11. Мустафоев, Б. И., & Авлиякулов, У. У. У. (2021). Некоторые вопросы формирования компетенций грамотности учащихся на занятиях по музыкальной культуре. European science, (2 (58)), 23-25. 12. Мустафоев, Б. И. (2019). Особенности уроков музыки в общеобразовательных школах. Достижения науки и образования, (1 (42)), 46-48. 13. Ашуров, Б. Ю., & Мустафоев, Б. И. (2023). Роль Бухарских народных песен в эстетическом воспитании учащихся, музыкальное воспитание учеников подростков средствами макома. Science and Education, 4(10), 234-239. 14. Мустафаев, Б. И., & Нуруллаев, Б. Г. (2021). ОБРАЗОВАТЕЛЬНОЕ ЗНАЧЕНИЕ ОБУЧЕНИЯ ДЕТСКИМ НАРОДНЫМ ПЕСНЯМ В СИСТЕМЕ МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ. Academy, (3 (66)), 45-47.