THE PAST AND CONTEMPORARY HISTORY OF THE UZBEK NATIONAL INSTRUMENT: DOIRA.
Rajabova Fazolat Zavqiddin qizi
Student of the Faculty of National Costume and Art, Termez State University
Keywords: doira, Uzbek music, percussion, “usul”, musical heritage, Maqom, rhythmic patterns, cultural evolution.
Abstract
The doira is not merely a percussion instrument but a symbol of Uzbek cultural identity and spiritual heritage. This article explores the historical evolution of the doira, tracing its roots from ancient archaeological findings to its pivotal role in classical Maqom and contemporary music. Through a qualitative analysis of historical texts and modern musical practices, the study highlights how the instrument has transitioned from a ritualistic tool to a professional concert instrument. The findings emphasize the importance of “Ustoz-Shogird” (Master-Apprentice) traditions in preserving its complex rhythmic patterns (“usuls”) in the 21st century.
References
1. Al-Farabi, Abu Nasr. (1967). “Kitab al-Musiqa al-Kabir” (The Great Book of Music). Cairo: Dar al-Katib al-Arabi.
2. Inogomov, T. (1992). “Doira darsligi” (Doira Instruction Manual). Tashkent: O‘qituvchi.
3. Levin, T., & Sultanova, R. (2002). “The Classical Music of Uzbekistan: Maqam and Doira”. London: Routledge.
4. Vyzgo, T. S. (1980). “Muzykalnye instrumenty Sredney Azii: Istoricheskie ocherki”. Moscow: Muzyka.
5. Karomatov, F. M. (1971). Uzbekskaya domrovaya muzyka: Gafur Gulom Publishing House.
6. Slobin, M. (1976). Music in the Culture of Northern Afghanistan. Tucson: University of Arizona Press.
7. Akbarov, I. (1958). O‘zbek xalq musiqasi. Tashkent: State Publishing House of Art and Literature.
8. Elsner, J. (1990). The Maqam Theory in the East. Berlin: International Music Council.
