The importance of the surnay instrument in uzbek folk music

Yusupov Yusupboy (student)

Urgench State University "Music Education"

"THE IMPORTANCE OF THE SURNAY INSTRUMENT IN UZBEK FOLK MUSIC"
Annotation: This article provides an overview of Uzbek folk instruments and their importance in folk music. Detailed information about the structure, use, history and performance of the Uzbek folk wind instrument "Surnay" is given.

Keywords: folk music, Uzbek instruments, Surnay, wind instrument, culture and art, instrumental studies, archeology.

Uzbek musical art, with its diversity, occupies an important place in the musical culture of the peoples of the world. Among these fine arts, the Uzbek folk music is of special importance, and among the Uzbek folk instruments there are wind instruments. The main reason for the popularity of such instruments as the nay, the surnay and the qo’shnay is their attractive sound.

Although wind instruments are widely covered in historical, theoretical, and instrumental works, little is known about the practicalities of their performance.

In recent years, it has become important to study the basics of traditional music and its performance methods, including the surnay, qo’shnay and bulamon instruments from the ancient and favorite instruments of the Uzbek people.

It is difficult to find those who are willing to study the traditional performance of wind instruments in different parts of Uzbekistan, as it is a large-scale study. But even so, owning one is still beyond the reach of the average person.

Archaeologists' findings show that in the V-IV centuries BC, a rich and developed musical culture emerged, and wind instruments were widely used among the examples of fine arts. The variety of nay and karnay is perfect.

In the 3rd century BC, wrestling, clowning and circus art flourished. The performance of the surnay is closely connected with the art of clowns and clowns.

The history of wind instruments in Uzbekistan dates back to the distant past. The article "Secrets of Ancient Fergana" ("Science and Life" magazine, No. 1, 1989) reveals the scenes of Fergana people living in the V-VII centuries AD and the musical instrument "Qo’shnay" made of reeds. was also found to be present. In Tashkent, Fergana, Bukhara, Surkhandarya, Khorezm and other regions of Uzbekistan, musical instruments have been traditionally passed from teacher to student.

Of course, sunray is one of the most popular wind instruments in Uzbekistan. In Khorezm, old teachers from Khorezm describe it as "a great nay", ie a nay with a strong sound. The surnay is a wind instrument. It is a professional musical instrument that is widely used in Uzbek, Tajik and Uyghur peoples.

“Surnay is a Persian word meaning "wedding", "holiday" and "nay". The main body is made of 400-550 mm long fruit tree (apricot, mulberry, walnut) wood, the inside is cylindrical, sometimes conical, with an extended trumpet. There are 8 finger-printed holes: 7 at the top and 1 at the bottom. The tongue of the trumpet (naypachak, dudik) is made of ordinary reeds, tied with string and glued together, made and worn on the shaft. The shaft is attached to a bachka (Persian bacha - from the word child; a cylinder made of wood different from the body of the trumpet). The shaft is attached to the performer's lip in the form of an ellipse (made of animal king, bone, pearl or metal) that protects the exhalation from exhalation. The sound of the Surnay is loud, powerful, and very sharp. In Fergana, Andijan, and Tashkent, the sound of the trumpet is softer and moaning due to the wider range of the trumpet (diameter of the inner hole), and the sound of the Khorezm surnay is sharper and whistling. The sound of the surnay is complex and is based on the musician's continuous breathing. The sound of the trumpet is resonant, strong, and very sharp. In Fergana, Andijan, and Tashkent, the sound of the surnay is softer and more moaning due to the wider range of the surnay (diameter of the inner hole), and the sound of the Khorezm surnay is sharper and louder. The sound production in the trumpet is complex and is based on the musician’s continuous breathing process. This type of performance is called "reversal" in Uzbekistan ("rest" in Khorezm). In doing so, the performer inflates the cheek, holds the reserve air in his mouth, and while breathing through the nose, directs the reserve air into the trumpet tube using the temporal muscles. As a result, the sound is not interrupted when air is sent to the surnay.

In Uzbekistan, surnay was popular mainly in two directions (Fergana-Tashkent and Khorezm), with several local centers; Hojimat mehtar from Andijan (Buloqboshi), Rustam mehtar Yusufalizoda, Ashurali mehtar, Odilbek Rustamov and others, Otajon surnay player from Fergana, Hamroqul surnay player from Kokand, Ahmadjon qoshnay and others, Ubaydullaevs from Tashkent, Mirzaevs, Sobirovs dynasty and others, Khivajan Sariq from Khiva Khudoibergan Qurban, later Y. Tojiev, M. Matyokubov et al. Quronboy surnay player and Matrasul Matyokubov surnay player played a significant role in popularization of surnay instruments in Uzbekistan.

Surnay formed a special ensemble accompanied by trumpet, drum or doyra, and performed in traditional national performances ("Surnay yor-yori"), dorboz, puppet games ("Duchava", "Dor oyun", "Ufarlar", "Sand cat" in Khorezm, "Turgay", "Zuvoniy", "Rotollo" and others), in various ceremonies, gatherings and festivals, dances ("Shodiyona", "Katta oyun", "Dilkhiroj", "Tanavor", "Munojot", "Orazibon" in Khorezm, "Norimnorim", "Elpasalandi" and especially "Surnay lazgisi") are widely used. The surnay is also known as a solo instrument. Due to the richness of performance possibilities and unique features, the melodies played in it stand out. The surnay tracks "Surnay Buzrugi", "Surnay Navosi", "Surnay Orazi", "Surnay Dugohi" (with savt and ufari) created on the basis of branches of Buzruk, Navo, Dugoh, Segoh, Iraqi maqoms in Shashmaqom are very popular. Many of the melodies, such as "Mushkiloti Segoh and Ufari" and "Surnay Irogi", are works of a large series. In particular, the surnay ways of Navo status are common and are mainly performed at weddings. In Khorezm there are special surnay maqoms for surnay, which are reflected in the Tanbur line ("Muhammasi Rost", "Peshrav zanjiri" from Navo, "Ufari Navo", etc.), lily, as well as classical melodies based on maqom ways ( "Nadramaddin", "Birollayim" and others). The surnay is now used in traditional and some national variety ensembles in folk instrument orchestras. Composers from Uzbekistan Alexei Kozlovsky (Suite "Lola"), Sayfi Jalil (Symphony No. 1), M. Tadjiev (4 and other symphonies) and others expressed the unique timbre of the surnay in a mature artistic position with the help of the symphony orchestra. Words close to the trumpet are called zurna in the peoples of the Caucasus (Azerbaijani, Armenian, etc.) and Turks, sona in China, shekhnai in India.
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