THE STUDY OF KARAKALPAK CHILDREN'S MUSIC

ABSTRACT

Children's themes are a concept that does not choose space and time, and are always in the center of attention in musical art. In particular, the musical heritage of composers who created in the territory of Uzbekistan and the Republic of Karakalpakstan attracts attention with the diversity of samples, stylistic diversity and thematic content. In our country, children's music has its own way of formation and development in composer's creativity. Initially, many author's works dedicated to children were included in folklore samples and compositions of folk art. Authors of Karakalpakstan also achieved success in this regard.

АННОТАЦИЯ

Тематика детей — это понятие, которое не зависит от времени и места, и всегда находится в центре внимания в музыкальном искусстве. В частности, музыкальное наследие композиторов, творивших на территории Узбекистана и Республики Каракалпакстан, привлекает внимание разнообразием произведений, стилевой многообразием и тематическим содержанием. Развитие детской музыки в композиционном творчестве нашей страны имеет свой особенный путь. Вначале в фольклорных произведениях народного творчества и авторских произведениях композиторов было уделено много внимания теме детей. Каракалпакские авторы также достигли успехов в этом направлении.

Keywords: Children's music, Karakalpak children's composers, children's instrumental works, children's songs, children's choral works, Puppet theater, Theater of young audiences.

Ключевые слова: Детская музыка, Каракалпакские детские композиторы, детские инструментальные произведения, детские песни, детские хоровые произведения, кукольный театр, театр юного зрителя.

In modern musical art, genres related to children's themes are embodied before our eyes as an independent and multifaceted aspect of culture. After all, taking into account its unique position in society and the importance of its educational and upbringing function for the future of the harmonious young generation, it is always relevant. The knowledge and skills, experiences and imagination acquired in youth, which grow from the simple and innocent sprout of childhood into an artistically mature and serious appearance, become the basis for the foundation of artistic thinking in the adult world. Therefore, according to its content, the theme of childhood belongs to the "eternal" category of art. It is no exaggeration to say that children's music in Uzbek composers' creativity arose in the 30s of the XX century. The older generation of composers - Il. Akbarov, H. Muhammedov, K. Abdullayev - created the first children's songs, V. Uspensky and B. Nadezhdin - the first piano works for children. At the same time, the systematic development of children's music took place in the period from 1950 to 1990.

By the 40s and 50s of the XX century, special attention was paid to the development of composer creativity in the musical art of Karakalpakstan. Gradually, all the conditions were created for the formation of the Karakalpak school of composers. The circle of talented composers working in the field of children's music has expanded, including J.Shamuratov, N.Muhammeddinov, G.Demisinov, G.Amaniyazov, S.Palvanov, N.Musaev, O.Lukmanov, A.Otepbergenov, A.Pakhratdinov, Q.Zaretdinov, R.Sultanov, K.Abdullayev, A.Khayratdinov, A.Saparova, Q.Tolegenov, U.Abdullaeva, J.Charshemov.

The last stage for Karakalpakstan is inextricably linked with the period of the former Soviet Union, when the multivoiced musical genre (in the form of composition) developed on the territory of Uzbekistan, including the autonomous Republic of Karakalpakstan. Since that time, the search for harmony between the traditions of the national melody and the features of homophonic-harmonic musical genres has manifested itself in new styles and various genres and forms.

Among the genres, genres aimed at children have gained their place and status. The creation of works for children in the field of compositional creativity fell on the 50s-60s of the XX century. This was mainly manifested in the form of composition, that is, adapting existing musical samples from folk art to new genres, mainly in the form of children's songs, which were considered the leading genre. A number of later Karakalpak authors created children's works in their choral, song, instrumental, dance and stage works, making a great contribution to the development of children's music in this land.

In Karakalpak music, lyrical songs, which have long been performed among the people, have become popular among the people, mainly in the direction of epic poetry, and have been imprinted in the work of solo singers.

Children's music in the territory of Karakalpakstan, along with folklore samples, has also included aspects that were characteristic of children's songs at that time by composers: the general playful character of children's music, a sonorous melody decorated with bright colors and a relatively simple texture, the speed, intensity, and enthusiasm characteristic of children have been preserved.

Songs for children are included in the works of many Karakalpak composers. After folklore, the first children's songs were created by such artists as J.Shamuratov, G.Amaniyazov, S.Palvanov, K.Abdullayev, A.Khayratdinov, Z.Lepesov, A.Saparova, Sh.Pakhratdinov, Q.Tolegenov, N.Muhammeddinov, G.Demisinov, Q.Zaretdinov, U.Abdullaeva, N.Musayev, J.Charshemov, B.Allaniyazov, A.Pakhratinov, A.Otepbergenov and others, and are being successfully performed today.

The songs in the works of composers are mainly simple in terms of form and structure and are in the form of a monophonic melody, without accompaniment, and are inclined to the character of children's games. In particular, J.Shamuratov's songs on various topics such as “Biz watan balasi” (We are the children of the homeland), “Dosliq” (Friendship), “Kel kel bala, kel kel bala” (Come, child, come, child), “Baxt qosig‘i” (The song of happiness), “Biz baxitli jaslar” (We are happy young people), “Omir guli” (The flower of life), “Qaraqalpaqstan” (Karakalpakstan) kabi tuli mavzularga atalgan kuy-qо‘shiqlari, X.Turdikulovning “Jaz” (Summer), “Oraz ham pishiq” (Summer and harvest) songs widely used in children's music textbooks, and A.Khairatdinov's works (Men’ mektepim, Salem lager, Uyregim, Bakshamizdi suemiz, Oktabryatlar, Leninshi balamiz, Aq quyan, Paraxatshiliq kepterleri, Oqiwshi jasdin’ qosig’i) are popular. It was published by the Karakalpak State Publishing House in 1966 as a separate book entitled "Come, children, let's sing a song." In the creative work of the composer and lyricist K. Abdullayev, works dedicated to children also occupy a special place: “Marsh” to the words of K. Rakhmanova, “Men o’qig’an mektepte”  (At the school where I Studied) to the words of S. Abbazova, "Svetofor", (Traffic light)  “O’zbekiston” (Uzbekistan), “Mening shahrim” (My city), “Bog’” (Garden), “Tarang’il”, “Bayan uchun bolalar raqsi” (Children's dance for the bayan) are songs dedicated to the homeland and the innocent moments of childhood.

Songs created by Karakalpak composers are set to texts by famous and young poets of the country. Among them, G. Amaniyazov's words are “Menin' agam” (My brother), H. Sabapov's words are “Saat tili sirtildaydi” (The clock hand squeaks), H. Saparov's words are “Miynet penen orledim” (I rose through labor), A. Khojanbayev's words are “Mug'allimim – ustazim” (My teacher is my teacher), Sh. Seitov's words are “Qar jawdi” (Snow fell), J. O'teniyazova's words are “Kel, sanayiq” (Come, let's count), Qaypnazarov's words are “O'mir gu'li bolamiz” (We will be the flower of life), O' Sarsenbayev's words are “Biz tinishliq gulimiz” (We are the flower of peace), H. Saparov's words are “Ko’p jasa” (Long live), The instrumental compositions “Oylanba” (Thought), the words of J. Oteniyazova “Gumshalar gu'lin ashadi” (The buds bloom), the song “Qiyal” (Dream) for a single voice, the words of Sh. Atamuratova “Appaq gu'ller” (White flowers), the words of J. Oteniyazova “Kel, Oynayiq” (Come, Let's Play) for piano, the words of J. Oteniyazova “Dosliq ushin” (For Friendship) include.

Composer Abadan Saparova's songs “Biz kewilli ballarmiz” (We are children of volunteers), “Turnalar” (Cranes), “Botalaq” (Camel calf), “Kishkeneler juris marshi” (Children’s March), “Biz mektebge baramiz” (We go to school), “Alma bag'imda” (In my apple orchard), “Oquwshilar marshi” (Students’ March), “Gozzal makanim” (My beautiful place) are written in a certain sense in accordance with the nature of Karakalpak speech.

In the work of composers, works in the genre of children's songs are distinguished by their ease and tendency to rhyme. In her monograph, scholar T. Adambayeva studies the features inherent in the Karakalpak song genre and discusses them using the example of folklore samples she collected. As is known, T. Adambayeva, based on the research of E. Romanovskaya, who conducted many expeditions in Uzbekistan, cites the following interesting quote in her book: “One of the most characteristic differences between classical music and folk melodies is that they are based on literary texts in the form of aruz, while folk songs are based on syllabic finger measures of 7, 8, 9 - 11 syllables” (our translation - R.G.).

Based on this research, T. Adambayeva divides Karakalpak melodies into two groups and analyzes the samples of our ancient musical heritage. The work in the work of composers proceeds from the musical approach that existed in folk art, and it can be said that the genre of children's songs also has this structure, that is, it is written based on finger measures.

With the opening of children's music schools, they needed manuals, textbooks and collections explaining the musical language used as a textbook. In the composer's work, the demand for works in the genre of songs intended for children increased. The songs included in the collections of U. Abdullayeva "Happy Childhood", J. Oteniyazova "Happy Childhood", K. Zaretdinov "Men sazende bolaman" (I can be a musician) and in music textbooks written for students in grades 1-7 continue to serve the younger generation equally well.

Major tonalities characteristic of children's music and the fourth jump and its filling, playful, dotted rhythms, the use of harmonic structure within the tonic for the melody range to be around an octave or shorter, and easy for children to sing, are inherent in the nature of Karakalpak children's music. In terms of the range of topics, songs were created on poetic examples in the titles of the animal world, nature, school, homeland and family, holidays, which show children's views on the world.

In songs related to children's folklore, their counting and syllabic texts are taken. For example, there are Uzbek children's works such as "Boychechak", "Chittigul" and "Chori chanbar". There are also works with similar names in the creativity of the Karakalpak people that are suitable for the children's psyche. For example, you can see this in the analysis of the song "We are a happy child" by B. Allaniyazov.

Instrumental works for children. Karakalpak composers also wrote melodies imbued with the national spirit and based on classical samples when creating children's instrumental works. Children's instrumental music is created mainly after the introduction of musical literacy, based on the professional experience of young composers who have gained it in the Moscow and Tashkent conservatories. This period is manifested as a product of the musical synthesis that emerged as a result of the introduction of foreign instruments and the recording of our national melodies on these instruments. Composers who grew up in the land of Karakalpak are N. Mukhammeddinov, A. Sultanov, G. Demisinov, Q. Zaretdinov. Through the work of such artists as Sh.Pakhratdinov, U.Abdullaeva, J.Charshemov, our instrumental music was enriched with Karakalpak melodies.

The unique aspects of instrumental music are the creation of formalized musical examples and the creation of a new style within them. A special feature of the instrumental works of the talented composer, creator of a large school in Karakalpak musical art, N.Muhammeddinov, dedicated to children, is his musical language and the high climax inherent in Karakalpak lyrical melodies (N.Muhammeddinov "Prelude in E-moll").

In the works of the Karakalpak composer G. Demesinov, who was brilliant in the 1970s and 1980s, there is a second side of children's instrumental music - comparative melodiousness. There are national melodies that combine such concepts as speed, passion and determination inherent in the Karakalpak people in performing this task of delivering national melodies on an instrument, as well as the performance traditions of national instrumental words synthesized with European performance methods. (G. Demesinov "Toccata in C major").

When it comes to children's music, a wide range of processes for expanding their worldview and creating visual images is directly reflected in the example of instrumental genres. It is known that many composers have tried to write children's music throughout their creative path, and their relatively simple performance, content and figurative framework are distinguished by their brightness, clarity and expressiveness. However, such seemingly simple genres actually contain many complex tasks. In this regard, children's music is manifested not only in the form of small genres intended for children (songs or some simple instrumental melodies), but also in opera, ballet, symphonic and vocal works intended for children.

It is known that many famous European composers who created unique works for children - Bach, Handel, Purcell, Haydn, Mozart, Beethoven, Schumann, Brahms, Grieg, Dvorak, Tchaikovsky, Mussorgsky, Lyadov, Ravel, Debussy, Saint-Saens, etc. - have a unique approach and semantic uniqueness in their musical samples for children.

Despite the fact that works intended for children are included in the repertoire of almost every composer in our country, the development of this genre was especially marked by the activities of such creators as T.Sodikov, G.Kodirov, D.Zokirov, Il.Akbarov, F.Nazarov, Sh.Yormatov, N.Norkhodjayev, A.Mansurov, D.Omonullayeva, M.Otajonov and Kh.Hasanova, who contributed to the development of Uzbek children's music. In the land of Karakalpakstan, which is one soul with the Uzbek land, during this period, authors worthy of the status of “children's composers” also emerged.

A collection of instrumental music samples has been published for today's children: “Karakalpak musical compositions” [5, 95], “Piano Works of Karakalpak Composers”, “I Am a Child of Music” [3, 85] the works included in such collections are distinguished by their nationality. The creative process of these composers in the field of music is different in that they are focused on children's music and create works in various genres.

The work of Karakalpak composers also includes works written for children's instruments, including works created for the piano. For example, “Piano compositions of Karakalpak composers” [1, 144] We can see various piano melodies in the textbook. The collection was published in 2018 by composers U. Abdullayeva and J. Charshemov.

We can see that the works included in the textbook are related to Karakalpak national traditions and classical music in terms of their content, and that the Western form and Karakalpak melodies are combined in the works created by creators who approached the theory of composition with relative national or unanimous responsibility. Examples of reworked versions of national melodies can be seen in the works of composer U. Abdullayeva called “Shimbay”, “Kara Jorg'a” and folk melodies reworked for piano by J. Charshemov called “Kobiz nalasi”. Also included were plays such as “So‘siz qosiq”, “Oyin”, “Maskarapaz”, “Arman”, “Duwtar sazi”, “Shabis”, “Tanʼ”, “Qosiq ham oyin”. At the same time, they turned to the most common types of instrumental music such as "Prelude", "Fantasy", "Elegy", "Toccata", "Scherzo".

The collection includes works by the following composers: N. Mukhammeddinov, G. Demisinov, D. Janabaeva, U. Abdullayeva and J. Charshemov. We can see the originality in the work of the composer G. Demisinov, Toccata in C major.

Another major genre of children's music is choral music. The development of the choral genre in Uzbekistan dates back to the 1950s-1960s, and this process also showed its own characteristics in Karakalpakstan. Young artists who graduated from the choral specialty began their activities in these years, and relatively late in the 1960s-1970s, attention began to be paid to the choral society and children's choir.

Choral societies were formed in the choral culture of Karakalpakstan with the introduction of professional choirmasters. One of the first to arrive in Karakalpakstan, a graduate of the Tashkent State Conservatory, Saniya Yusupova, on the recommendation of Davlet-Keldiyeva, created the first choral society at the Philharmonic.

The contribution of S.P. Palvanov to the development of Karakalpak choral art should be noted. After graduating from the Leningrad Conservatory in 1960, he devoted his work to the further development of choral performance. The composer reworked Karakalpak folk songs, which were sung in unison in the folk way of life, into 3- and 4-part choral works for the choir, created choral samples for children's performance, and also worked effectively on the development of music textbooks for children's secondary schools.

At the next stage, in the 1970s, as a colleague of S. Palvanov in public affairs, the young artist A. Mambetov, a successful graduate of the Tashkent Conservatory, also showed all his talent in working with choral groups. In order to promote choral art to the people, the two artists, together with the choir of the 1^st BMM, visited schools in the Nukus, Khojeli and Takiyatash districts of Karakalpakstan and organized many concerts.

The Karakalpak children's choral art began its development at the same time as the Uzbek children's choir. In the mid-1970s, the Boychechak large choir group, a boys' choir and a girls' vocal ensemble were founded at school No. 99 in Tashkent.

In 1978, Turdibay Eshbayev organized the children's choir of the Karakalpakstan Television and Radio Company on the basis of school No. 19 named after K. Marx, and 60 high school students participated in this choir. This choir took part in various festivals and competitions held in the Republic and won a place in the hearts of listeners.

Of course, the works of composers who grew up in this land and formed the basis of the repertoire are also noteworthy in the development of the Karakalpak children's choir. Among them, the following are noteworthy: S. Palvanov, G. Demisinov, A. Khalimov, A. Pakhmutova, N. Mukhammeddinov, G. Amaniyazov and Q. Zaretdinov, who wrote choral works.

S. Palvanov's numerous works for children's and adult choirs – “Watan” (Homeland), “Respublikam” (My republic), “Soldat anti” (Soldier’s Oath), “Dala armanlari” (Dreams of the steppe), “Berdaq xalq penen” (Berdaq with the people), “Tuwilg'il jer” (Birthplace), “Jasil jaylawlarim” (My green Pastures), “Aralim” (My Island) - occupy a special place in the author's work. The composer mainly seeks to form concepts such as love, loyalty and humanity for his people in the minds of young people in his choral works and to educate children in a sincere spirit.

Among the examples written for children's choirs, the most notable and still performed today are the choral works of K. Zaretdinov. This is because in the works of this composer, choral themes for children include games and tales typical of folk folklore in their language. For example, the choral works “Tulkishek” (kitten fox), “Hakke qayda” (Where is the hakka) are examples of the Karakalpak children's folklore. They mainly depict images and tales of a game nature. At the same time, there are such choral works as “Watan” (Homeland), “Mektebim” (My school), “Gu'belek” (Butterfly), “Jumboq” (Puzzle), “Xalq ushin” (For the people), “Anajer” (Motherland).

In terms of the subject matter, the author's works are focused on the homeland, the school as an educational institution, and the animal world, which is figuratively depicted. In his works, themes for solo (solo) and choir are in high place, and among them there are also works written for a cappella choir. In particular, “Where is Hakka” (Hakke qayda) and “Motherland” (Anajer) are among them. The choral work “Where is Hakka” belongs to folk art and was written for a cappella in the form of questions and answers.

It is also worth noting the role of festivals and competitions that interest children in the promotion of children's choral art to the public. Among these, such contests as “Balaliq ba’hari” (Spring of childhood), “Yangi avlod” (New generation), “Kelajak ovozi” (Voice of the Future) are widely held throughout the republic, which contribute to the development of children's music.

Works by composers for theaters of young spectators and puppet theaters. Stage works are another major aspect of children's music, helping to expand the world of children's imagination, imagination and bring them closer to society. It is appropriate to say that the role of puppet theaters and theaters for young spectators in the implementation of propaganda, spiritual and educational work is great. The presence of separate stage works for children in the theater art, which is developing from year to year, and the presentation of these works to children by a team of adults, indicates the complexity of the sphere of influence on children. This is because performers are required to have great skill, childlike thinking, reasoning, moving, speaking and behaving like a young child.

Performers perform all these actions on stage in front of children. Theaters play a significant role in the staging of these stage works. The creation and presentation of children's stage works to children has created an effective creative environment in the development of children's music in Karakalpakstan.

In order to present the national heritage of our people, our values, and works imbued with Karakalpak melodies to children, based on the decision of the Supreme People's Congress of Uzbekistan, the opening of the Karakalpak National Theater for Young Spectators was ordered by the order of the Uzbek SSR Ministry of the USSR No. 173 dated March 28, 1978, and the resolution of the Uzbek SSR Ministry of the USSR No. 8/108 dated April 7, 1978. In accordance with this decision, the Karakalpak National Theater for Young Spectators was established in the city of Nukus by the order of the Karakalpak ASSR Ministry of the USSR No. 62 dated May 16, 1978. [4, 195]

The Karakalpak Theater of Young Spectators was named after playwright Sapar Khojaniyazov by Resolution No. 462/12 of the Council of Ministers of the Republic of Uzbekistan on December 14, 1983. Since then, more than 170 performances have been staged on the theater stage and brought to the attention of children. Among them are K. Rakhmanov's “Eglengen ba'ha'r”, “To'qqiz to'nkildaq, bir chinkildak”, S. Khojaniyazov's “Umid uchqunlari” (Umid ushqinlari), T. Kayipbergenov's “Khiops Pyramid”, P. Aitmuratov's “Suyunchi” (Suyinshi), J. Khojanov's “Guests from Space” (Kosmosdan kelgen miymanlar), J. Makhudov's “Yolong’och karol” (Jalang'ash Carol), “Maston kampirning hiylalari” (Ma'stan kempirdin' hiyleleri) and many other performances.

After the Theater of Young Spectators, in the 90s of the last century, the Puppet Theater was also opened in Karakalpakstan, and with its repertoire it created a basis for increasing children's interest in art. The Karakalpak National Puppet Theater was opened in 1990 based on the Resolution of the Council of Ministers of the Republic of Karakalpakstan No. 50/2 dated February 27, 1990 and the Order of the Ministry of Culture and Sports of the Republic of Uzbekistan No. 115 dated April 5, 1990.

The stage of the Karakalpakstan Puppet Theater opened in 1991 with the play “Ortiq Mergan” (Artiq Mergen) by K. Karimov, and in subsequent years many more performances were staged. In particular, performances such as: K. Matmuratov's “Aq tekesh ham kok tekesh”, S. Khusainov's “You need what you need” (Kerak bo'lganin' kerak), S. Orlov's “Golden hen” (Altin sho'je), J. Khojanov's “Journey to the Seven Climates” (Jeti klimakga sayahat), V. Povlovsky's “Lying fox” (O'tirikshi tu'lkishek), P. Aitmuratov's “A Story told by my father” (Atam aytqan an'gime), “The magical bell” (Siyqirli ko’n'iraw), “The consequence of theft is disgrace” (Urliqtin' tubi xorliq) were presented to the audience on the theater stage.

The professional approach and breadth of the range of topics in each of these works are noteworthy. Most of the performances are aimed at the formation of human qualities in children and an effort has been made to show the right path. In the works of the puppet theater, a fairy-tale approach and a musical language have been chosen accordingly.

Currently, young composers are working on writing music for the puppet theater, including: A. Pakhratdinov's music for the performances “Children Waiting for Birds” (Quslardi kutken balalar), Sh. Awezova's music for the performances “Swan” (Aqquw) are among the hottest puppet performances of 2023. At the same time, the performances “Children Waiting for the Birds” (Quslardi kutken balalar), “The Shepherd’s Tale” (Shapan apsanasi), “Goodness Returns” (Jaqsiliq qaytadi), “Magic Flower” (Siyqirli gu’l), “Father Qorqit” (Qo’rqit ata) are the most staged works in the spring season of 2024.

Summarizing the above, it can be said that Karakalpak children's music is a rich and multifaceted field that combines songs, instrumental works, choral music, as well as music for theater and puppet theaters. It is based on deep folk traditions and professional musical heritage, which makes it unique and unique. Karakalpak composers have made a huge contribution to the development of children's musical art and created many works that have become favorites of children. Their works play an important role in educating and training the younger generation, introducing them to our national culture, and instilling love for their people. The main themes include the Motherland, love for their people, school, friendship, nature, fairy tales, and games. The characteristics of Karakalpak children's music are simplicity and ease of understanding and performance by children, brightness and emotionality in melody, the use of folk melodies and rhythms, the use of traditional and modern elements, and an emphasis on educational significance.

Such children's works are present in the works of Karakalpak composers: J.Shamuratov, G.Amaniyazov, S.Abdullayev, A.Khayratdinov, A.Saparova, Sh.Pahratdinov, G.Demisinov, K.Zaretdinov, U.Abdullaeva, N.Charshemov, B.Allaniyazov, A.Pahratdinov, A.Otepbergenov and other composers. In order for children to have a broad outlook on the future, the works of composers are in various genres, and the thematic law that unites them is love for the homeland, respect for the place of birth and upbringing. Such works are present in the works of almost all composers. We hope that Karakalpak children's music will show its most perfect examples in the works of future generations of composers.

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