RHYTHMIC FORMULAS IN UZBEK INSTRUMENTAL MUSIC

Abstract

The article is devoted to the study of rhythmic formulas in Uzbek instrumental music, in particular — to the analysis of summated rhythm as one of the key principles of rhythmic organization. This paper examines stable rhythmic units that perform both stabilizing and dynamizing functions in a musical composition, and traces their manifestation at various structural levels: intra-beat, intra-measure, at the phrase level and at the period level. In the course of analyzing specific examples of Uzbek instrumental music — the melodies “Sarbozcha”, “Chorgoh”, “Tanovar”, “Muhammasi Bayot”, “Eshvoy” and others, performed on the kashgar rubab, tanbur, dutar and chang — the features of the application of summated rhythm in various metric conditions were identified: in duple meters (2/4, 4/4), triple meter (3/4) and compound meter (6/8). It has been established that summated rhythm is most widely used in even-numbered meters, whereas in 6/8 meter its formation is difficult due to the nature of this meter. The study also shows that the nature of the application of rhythmic formulas depends on the instrumental performance style, the genre of the composition, tempo and sound production technique. It is noted that the rhythmic characteristics of each instrument reflect the uniqueness of the performance manner and are inextricably linked to the nature of Uzbek traditional music.