"UZBEK BOWED STRING INSTRUMENTS: HISTORY, THEORY AND PRACTICE (The traditional and contemporary kobuz as an example)"

INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE Volume 02, Issue 12, 2025 39 INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE universalconference.us "UZBEK BOWED STRING INSTRUMENTS: HISTORY, THEORY AND PRACTICE (The traditional and contemporary kobuz as an example)" Akhmedov Alisher Nosir o’g’li Dean of the “Instrumental Performance” Faculty of the 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 қўбуз 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 кобуз с точки зрения развития национального традиционного искусства. Abstract To highlight the theoretical, technological and performance capabilities of the Uzbek stringed musical instrument kobuz 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. The kobuz is an ancient bowed string instrument that was already well-known in early times in Khiva, Bukhara, Samarkand, and other cities and regions of Central Asia. It is considered one of the typologically related varieties, similar to the Kazakh qyl-kobyz and the Kyrgyz kyl-kiyak. INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE Volume 02, Issue 12, 2025 40 INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE universalconference.us The ladle-shaped instrument has two strings made of unspun horsehair, and it is played with a curved bow. The kobuz embodies a deep, velvety timbre and rich overtonal resonance, which ultimately contribute to creating a distinctive timbral–phonic character and forming its unique sound. A light touch of the left-hand fingers on the strings in all registers produces a clear and resonant flageolet (harmonic) effect. “This indescribably colorful sound of the kobuz is further enhanced by performers through the skillful use of extremely delicate dynamic shades.” . Abdurauf Fitrat, in his book “Uzbek Classical Music and Its History”, describes the kobuz as follows: “The kobuz is the oldest Turkic musical instrument. Its body consists of one tailpiece, one bowl, one neck, and one head. The upper part of the tailpiece is covered with thick leather, while the top of the bowl remains open. The combined length of the tailpiece and the bowl is equal to the length of the neck and the head.”. The kobuz is a two-string instrument played with a bow, and each of its strings is made from a bundle of horsehair. The first string contains fewer hairs than the second, which indicates that the first string produces a higher pitch, while the second string produces a lower one. The tone quality of the kobuz is plaintive and expressive. This instrument is preserved as a unique exhibit under inventory number 45 in the Museum of Musical Instruments at the Uzbekistan State Conservatory. INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE Volume 02, Issue 12, 2025 41 INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE universalconference.us According to various legends, the kobuz was the instrument of the bakshi–ozons, the ancient epic poets of the Turkic peoples. In the old Turkic dictionary “Dīwān luāt at-Turk”, words such as “kobuz” and “kobuzlamoq” are recorded, and the name “kobuz” can also be found in the works of several Chagatai poets, including Navoi, Lutfi, and Mirhaydar Majzub. (In the musical treatise of Hafiz Darvish Ali, there is a legend stating that during the time of Sultan Uvays Jalayir of the Ilkhanids, the kobuz was made using an instrument called “ozon.”). Researchers emphasize the attractive sound qualities of the kobuz, noting that these characteristics historically ensured its wide demand in various forms across many countries of the East. The musical and aesthetic sensibilities of listeners directed the perception of the kobuz’s sound world, particularly highlighting a more tangible appreciation of the tones produced by musical instruments. With the emergence of new methods of sound production in musical instruments, interest in the kobuz gradually declined. It is known that in ancient times, the distinctive feature of playing the kobuz was its natural production of harmonic (flageolet) tones. “The strings were touched and pressed very lightly, resulting in harmonic-like (flageolet) sounds across all registers of the instrument.”. The modern revival of the kobuz is associated with the establishment of the folk instruments of the orchestra. This was carried out in order to strengthen the lower register with instruments possessing a bass timbre, thereby achieving polyphonic harmonious sounds. For this reason, A. Petrosyants included the kobuz family in the bowed string instrument section of the folk instruments of the orchestra. The kobuz family is also documented in A. Tashmatova’s “Catalog of the Museum of Musical Instruments”, which states the following: “A family of ghijjaks and kobuzes was created to meet the requirements of modern performance practice. The ghijjak family consists of prima, alto, bass, and contrabass ghijjaks based on the ghijjak and kobuz, while the kobuz family consists of prima, alto, bass, and contrabass kobuzes. Due to the wide variety of timbres in this group of instruments and their extensive performance possibilities, they fulfill one of the main INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE Volume 02, Issue 12, 2025 42 INTERNATIONAL CONFERENCE ON INTERDISCIPLINARY SCIENCE universalconference.us roles within the orchestra.”. Undoubtedly, in Uzbekistan, due to the revival of ancient spiritual values and nearly forgotten art forms, interest in kobuz performance has been steadily increasing. In particular, the establishment of the professional art directions of dastan performance and bakhshi traditions at the Yunus Rajabi National Institute of Music, as well as their integration into practical training, provides a foundation for the revival and further development of the kobuz. References 1. Karomatov, F.M. Uzbek Instrumental Music. – Tashkent: Gafur Ghulam, 1972. 2. Odilov, A. History of Performance in Uzbek Folk Instruments. – Tashkent: Oʻqituvchi, 1995. 3. Petrosyants, A.I. Instrumentology. – Tashkent: Oʻqituvchi, 1990. 4. Toshmukhamedov, M.I. Gdijjak Textbook. – Tashkent: Oʻqituvchi, 1995. 5. Kholmukhamedov, O.M. Methodology of the Gdijjak Class. – Tashkent: Gafur [publisher], [year not specified]. 6. Khudoev, G. Performance Traditions of the Gdijjak Instrument. – Tashkent: Muharrir, 2014.