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Journal: Science and world (Vol.1, No. 49)

Publication Date:

Authors : ;

Page : 75-77

Keywords : maqam; melody; music; tradition; tona lity; rhythm; genre; science.;

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Fitrat, being a scientist, always tried for ver ification the theory by the practice, and check practice by the theory. At the same time, perhaps, intuitively he felt that Shashmaqam, and, first of all, its tonality and tone basis (in his terminology “оханг усули” and “асос куйлар”), is not the abstract theory, but practical science. Therefore, it appears, that he brings a complex reasoning on theoretical fundamentals of East music to musical instruments, which were considered as a practice embodiment, and in particular to a tamboura, being "key" of the Shashmaqam tonal sys- tem. In rhythm issues Fitrat felt much more surely and has stated a set of interesting views, has entered the concepts connected with fundamentals of East music. So, concerning a musical rhythm he uses two fundamental terms: "усуль" mea ning a rhythm generally, as the module of the European word "rhythm" and "rhythmic circles" ("усул доиралари"). First of them in the current practice is used more in the strict sense – the rhythmic formula performed on doira as a melody accompaniment. And the second – "rhythmic circles" – in theoretical treatises was used as a rational, logical formula of rhythmic foot with identical quantity of the short and long relations which were considered as one circle.

Last modified: 2018-08-07 22:31:19