METHODS FOR INTRODUCING FUTURE MUSIC STUDENTS TO DUTAR – TECHNIQUES OF NATIONAL INSTRUMENT PERFORMANCE

SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 247 METHODS FOR INTRODUCING FUTURE MUSIC STUDENTS TO DUTAR – TECHNIQUES OF NATIONAL INSTRUMENT PERFORMANCE N.F. Abdumajidova Senior Lecturer, “Music Education” Department, International Nordic University https://doi.org/10.5281/zenodo.17861905 Abstract. This article provides information on methods for introducing future music students to the techniques of dutar – a traditional national string instrument. Keywords: dutar, history, related peoples, tanbur, dutar family, prima, secunda, tenor, bass, contrabass, strokes, national values. Introduction The dutar is one of our ancient and traditional musical instruments. This article provides comprehensive information about the dutar, from its origins to the types used today, its family, playing techniques, and beautiful performances. It emphasizes that the dutar reflects our national values in everyday life. Uzbek classical music has long been recognized as a great example of high art and spirituality. Therefore, these musical works should be studied not only as artistic creations but also as an important part of culture. Uzbek classical music is so vast that it is rare to find topics it does not cover. The people have imbued their songs, epics, maqams, and instrumental pieces with educational themes capable of cultivating the listener’s spiritual growth. Through these musical works, the people have expressed their sorrows, love, romantic experiences, and aspirations. Indeed, Uzbek national instruments stand out from those of other people due to their diversity and charm. Traditionally, every Uzbek household possessed at least one musical instrument, and this tradition continues today. In this article, we discuss the dutar, one of the Uzbek people’s favorite instruments, and its historical development. The dutar is a widely used national instrument in Central Asia. It is popular not only among Uzbeks but also among related peoples such as Tajiks, Uyghurs, Turkmens and Karakalpaks, who all consider it one of their favorite instruments. Similar instruments include “Saz” in Azerbaijan, “Panduri” in Georgia, “Komus” in Kyrgyzstan, “Dombra” in Kazakhstan and “Pipa” in China. The dutar belongs to the family of plucked string instruments. Its soft, delicate, and melodious sound distinguishes it from other instruments. Among the people, the dutar is called the “heart-touching instrument.” Any melody played on it resonates with the heart because its sound expresses the soul’s longing. Thus, the dutar in the hands of women has historically been an instrument of expressing emotion and sharing feelings of the heart. The earliest information about the dutar is found in the treatise Scientific and Practical Rules of Music by Zaynulobiddin alHusayni, a contemporary of Navoi (Chapter XVI). In the 16th–17th centuries, musicians such as Yusuf Mavdudiy Dutoriy from Herat and Mirquliy Dutoriy from Mashhad composed under the pen name “Dutoriy,” and their names are preserved in historical sources. The dutar is primarily made from mulberry, apricot, or walnut wood. It consists of a large pear-shaped body with ribs, a wooden soundboard, and long gut strings attached to the neck, with the connecting part between the body and neck made from walnut wood. Historically, dutars, like SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 248 other wooden instruments, were elaborately carved. In Bukhara, Khiva and Karakalpakstan, tworibbed dutars were common; in Samarkand, four-ribbed; and in Tashkent, Kokand, and other cities, twelve-ribbed dutars were used. The joints of the ribs were covered with thin bone or wooden strips. On the relationship between Dutor and Tanbur There are several lines in Turkmen classical poetry that mention the connection between the dutor and the tanbur. Traditionally, the words “tanbur” and “dutor” have been used synonymously by the Turkmen people. The dutor is referred to by the term “tanbur” or the related word “tamdir.” Some scholars have speculated that this word originated because the soundboard (deka) of the instrument was baked in a tandoor, while another theory suggests that “tamdir” derives from “tommir-tommir,” referring to the sound heard when playing the dutor. However, neither of these theories is entirely accurate. According to Sh. Gulliev, “tamdir” is simply a variant of the word “tanbur,” which later evolved in local dialects into “tamdir.” Among the Turkmen people, there are several legends regarding the origin of the dutor. One such legend was recounted by Sari Bakhshi during a conversation with V. Uspenskiy, which suggests that the dutor existed even before the 15th century. According to one legend, Hazrat Ali (late 7th century, early 8th century) was worried that his horse was losing weight day by day. When he entered the stable, he saw the stableman playing some kind of instrument. Entranced by the pleasant sound emanating from the instrument, the horse even forgot its food. Unable to hide his astonishment, Hazrat Ali asked the stableman, “What kind of instrument is this?” The stableman replied, “Tuttor,” explaining that it was made from mulberry wood and its strings from silk. Hazrat Ali then concluded, “If the separated parts of the mulberry tree can produce such a melancholic sound when joined, it must be remarkable!” T. S. Vizgo later suggested that the dutor is not a completely new instrument but rather a variant of the widely spread tanbur in the East. Although the first recorded mention of the dutor dates to the 15th century, it is useful to provide information on earlier instruments that laid the foundation for its creation. Ancient instruments included two-stringed ouds with small bodies and long necks. Archaeological excavations in Central Asia have uncovered numerous depictions and terracottas (clay figurines) of musical instruments. Among them, a terracotta of a two-stringed oud from the Salavkiy dynasty era is noteworthy, as most of its performers were women. Almost all the instruments share common features: small, carved wooden bodies and long necks. At present time dutors are refined and reconstructed versions of these traditional instruments. Structure of the Dutor SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 249 Types of Dutor There are six types of dutor: dutor prima, dutor secunda, dutor alto, dutor tenor, dutor bass and dutor contrabass. Prima. This is a smaller version of the dutor. Its soundboard is made from juniper wood instead of mulberry, and gut strings replace silk strings. The frets on the neck are carved and fixed in a chromatic arrangement. The strings are tuned in fourths and unisons. It is tuned to “E and A” in the first octave, and the notes are written in the treble clef. The overall range of the dutor prima extends from E in the first octave to A in the third octave. It is typically played in an orchestra either as a solo instrument or together with other instruments. Dutor Secunda The dutor secunda belongs to the newly developed dutor family and produces sound in the middle register. Like the prima, it has two silk strings, tuned at a fourth interval. Its appearance is slightly larger than the dutor prima; the bodies of the dutors are similar, but the neck lengths vary. It is tuned to A and D, with an overall range extending from A in the small octave to D in the second octave. Dutor Alto The dutor alto sounds an octave lower than written. It can perform large-scale works in an orchestral setting. Although its pitch is significantly lower, skilled performers have explored and revealed all the capabilities of this instrument. On the dutor alto, melodies are played using various distinctive techniques, such as terma, teskari, wrist stroke, pizzicato, and tremolo. The instrument can produce two sounds simultaneously, and intervals such as thirds, fourths, and fifths are played. In the orchestra, the dutor alto holds significant importance: it enriches the resonance and harmony of the sound, sustains pedal tones, and enhances the overall character of the piece. SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 250 Dutor Tenor (Traditional Dutor) The dutor tenor is a reconstructed instrument that produces sound in the middle and lower registers. It is written in the treble clef but sounds one octave lower than written. The instrument has two strings (D and G), which are tuned in intervals of a fourth, fifth, and octave. Its playing technique differs from that of other dutors. The dutor tenor is distinguished by its gentle, melodious, and pleasant tone. Dutor Bass The dutor bass was the first of its kind, created in 1948 at the Tashkent State Conservatory. This instrument serves to reinforce the bass register within an Uzbek folk music ensemble. The dutor bass is tuned in fifths and has four strings: the fourth string is “C,” the third is “G,” the second is “D,” and the first is “A.” The A string is made of gut, while the remaining strings are made of metal. The notes are written in the bass clef, and its range extends from C in the great octave to G in the first octave. Dutor Contrabass The dutor contrabass is the largest member of the dutor family, designed as an enlarged version of the dutor bass. Its body is large, composed of wide ribs, and its neck is longer than that SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 251 of the dutor bass. Its range extends from E in the great octave to B in the first octave. The instrument sounds one octave lower than written. Fingering and Striking techniques in Dutor performance In dutor performance, the left-hand fingers are indicated on the notes by numbers, showing which finger should press which fret. The second string is usually played with the thumb. Striking Techniques (Zarbs) In music, the method of producing sound on an instrument is called a “zarb” (stroke). The choice of stroke determines the character and expression of the musical piece. In dutor playing, there are several commonly used strokes: 1. Wrist Stroke (Bilak Zarb) – On the dutor, this stroke is performed using three fingers (without involving the thumb and index finger). The middle finger, ring finger, and little finger strike downward only. 2. Terma Stroke (Terma Zarb) - The finger strokes must be precise, even, and consistent in strength. The index and thumb strike downward alternately, followed by lifting the thumb and index finger upward to produce sound. The thumb is marked with the letter B, and the index finger is marked with the letter K. 3. Aylanma Stroke (Rotational Zarb) - This stroke is similar to the terma stroke, executed in a sequence of downward and upward motions. The index and thumb fingers alternate at a high speed, producing a rapid, even, and consistent sound. 4. Reverse Stroke (Teskari Zarb)- In this stroke, the index finger strikes downward while the thumb moves upward, then the index finger strikes upward, followed by downward strikes in succession while the thumb moves upward. This alternating motion produces the reverse stroke sound. 5. Tremolo – This involves rapidly striking one or two notes consecutively with the tip of the index finger to produce a continuous shimmering effect. 6. Pizzicato (Chindib Chalish) - In dutor performance, both single and double pizzicato techniques are used. In single pizzicato, the thumb strikes downward to produce the sound. In double pizzicato, sounds are produced by alternately pressing the thumb downward and lifting the index finger upward repeatedly. Conclusion At present time, the dutor serves as a symbol of our national values. Each piece of Uzbek national music performed on the dutor inspires feelings of pride and national identity. Skilled teachers, through their mastery and teaching, preserve the authentic sound of the dutor while training their students. Today, accomplished musicians such as R. Khodjayeva, U. Yunusov, G. SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 252 Mominova, and I. Arabov have made significant contributions to teaching the dutor and passing on its traditions. REFERENCES 1. National Encyclopedia of Uzbekistan. Tashkent, 2022 2. T. Zufarov, History of Soz and Sozmanship, Tashkent, 2014 3. I. Rajabov, Maqams, Tashkent, 2006 4. A. Karimov, History of Uzbek Folk Instruments, Tashkent: Music Publishing, 2010 5. A. Radjabov, Fundamentals of Maqam Art, Tashkent: Gafur Gulom Publishing, 2003 6. T. Alimatov, Art of Maqam Performance and Instruments, Tashkent: Science Publishing, 1988 7. I. A. Akbarov, Music Dictionary, Chief Editor T. B. Gofurbekov, Tashkent, 1997 8. A. Mansurov, Modern Information Technologies in Music Studies, Tashkent, 2016 9. Electronic Resources 10. Internet sources: WWW.Ziyonet, Pedagog.uz, Kutubxona.uz