CREATION AND PERFORMANCE ON THE SATO INSTRUMENT

INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION Volume 02, Issue 10, 2025 109 INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION universalpublishings.com CREATION AND PERFORMANCE ON THE SATO INSTRUMENT Akhmedov Alisher Nosir o’g’li Dean of the “Instrumental Performance” Faculty, Uzbekistan State Conservatory Associate Professor of the “Performance on Folk Instruments” Department Independent Researcher (PhD) E-mail: alisher.axmedov [email protected] phone.: 94 600-74-04. Аннотация Ўзбек торли-камонли мусиқа чолғулари сато чолғусининг назарий, технологик ва ижрочилик имкониятларини миллий анъанавий санъат ривожи нуқтаи назардан ёритиб бериш. Аннотация Осветить теоретические, технологические и исполнительские возможности узбекского струнного музыкального инструмента сато с точки зрения развития национального традиционного искусства. Abstract To highlight the theoretical, technological and performance capabilities of the Uzbek stringed musical instrument sato from the perspective of the development of national traditional art. Калит сўзлар Мусиқий, Жаҳоншумул, Нозиктаъб, Тембр, Эффект. Ключевые слова Музыкальний, Всемирный, Разборчивый, Тембр, Эффект. Keywords Musical, Worldwide, Coherent, Tembr, Effect. One of the most unique stringed instruments is the sato. It is widespread among the Uzbek, Tajik, Uyghur, Iranian, and Afghan peoples. “The sato is one of the oldest musical instruments. Ibn Sina mentioned it, or rather, its bowed stringed instrument and its frets, in his work "Kitab unnajot" (“The Book of Salvation”). This indicates the healing power of sato, its voice gives people confidence INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION Volume 02, Issue 10, 2025 110 INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION universalpublishings.com in healing. The spiritual value of sato is undeniable. Performing it and listening to its music ennobles a person, enriches his spiritual world with noble thoughts and ideas, and helps to find harmony with the surrounding nature. The sound of the sato is enriched and enhanced by the resonator strings located beneath the main strings, producing overtones that provide acoustic fullness to its timbre. On the sato, expressive and emotionally evocative melodies, with delicate and extended tones, resonate particularly well. The cantilena style represents the strongest aspect of sato performance art, showcasing its emotional depth and tonal expressiveness. Among the most important means of expression in performance are various types of glissandi, ornamental patterns, and vibratos, which enhance the emotional dimension of the music and reveal its lyrical character. The nature of the sato allows for a wide range of meditative artistry, encompassing performances with lyrical, lyricalphilosophical, genre-domestic, and narrative characteristics. In the traditional approach, the creative thinking of a performing musician develops actively through a process of meditative artistry, becoming enriched with diverse sonic images and resulting in the emergence of new performance techniques. The sato produces a singing, melodic sound, in which extended, lyrical pieces resonate particularly well. This instrument allows the musician to explore a rich world of lyrical-philosophical reflections, imagery, contemplations, and Eastern meditative experiences, enabling immersion in reflective states and self-awareness of the spirit. The sato uniquely combines traditional and contemporary foundations at a high level of professional skill. It should be noted that in A. Tashmatova’s instructional manual “Anthology of Folk Instruments”, the sato is described as follows: “The sato belongs to the family of tanbur-like instruments. It has four main (metal-brass) strings and four sympathetic strings attached to the side “ears” of the body that resonate. In the center of the soundboard, there is one ornamental resonator, while on the edges there are two “dropshaped” resonators.”. They are designed to ensure the full resonance of the instrument’s sound. Traditional sato performance techniques are very diverse, including both wide bowing and the use of specific parts of the bow. The acoustic characteristics of the sato allow the musician to achieve extremely rich and distinctive tones. “Almost any traditional instrument can be described as a model consisting of the following components: the vibrator (exciter), the resonator, the modulator, and the sound radiator.” . All of these also apply to the sato, which has a complex construction INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION Volume 02, Issue 10, 2025 111 INTERNATIONAL CONFERENCE ON MEDICINE, SCIENCE, AND EDUCATION universalpublishings.com and provides the performing musician with the opportunity to explore timbral and phonic means of expression creatively. References 1. Кароматов Ф.М. Узбекская инструментальная музика. – Тошкент: Ғафур Ғулом. 1972. 2. Ташматова А. Халқ чолғуларида антологияси. – Тошкент: Ўқитувчи. 2002. 3. Петросянц А.И. Инструментоведение. – Тошкент: Ўқитувчи. 1990. 4. Тошмухамедов М.И. Ғижжак дарслиги. Тошкент: Ўқитувчи. 1995.