DOI: 10.36871/hon.202004021
Authors
B. D. Davlatzoda
Tajik National Conservatory named after T. Sattorov, Dushanbe, Tajikistan
Abstract
The orchestra, as the most perfect instrumental association of musical academism, is an unusual phenomenon for Tajik culture of the monodic tradition. The organization of orchestral music in Tajikistan reflects the diffusion of monody and written academism, inspired by the state cultural policy of the USSR since the 1930s. The relevance of this topic is related not only with the analysis of the organological properties of a particular rubob, but also with the dynamics of the entire Tajik folk orchestral culture. The author reveals the problems of changes in ethnoinstrumentalism that arose in the process of interethnic transformations by the method of included observation: to confirm the main theses of the article own pedagogical and performing experience was used. Materials concerning the etymology and genesis of Tajik rubob — "Kashgar", "Badakhshan", "Afghan" and "Pamir" — are derived from well-known historical sources, while information on the optimization of tessitour and performing ergonomics of rubob is obtained as a result of analytical studies by the author. It is concluded, that rubob in Tajikistan is a widely demanded phono instrument that has preserved its traditional design, sound extraction and repertoire, and the performing ergonomics of rubob has a deep centuries-old tradition.
Keywords
Tajik traditional culture, monody, ethnoorganology, chordophones, plucked rubob, included observation method, national folk instruments orchestra, syncretic ensemble
