ASHULA \u2014 yakka xonanda yoki xonandalar guruhiga mo’ljallangan, mumtoz o’zbek musiqa merosida Markaziy o’rin egallagan ashula yo’li. Asosan lirik ruhdagi g’azal va she’rlar zaminida yuzaga keladi. Ashulalar soz (doyra, dutor, tanbur), ansambl jo’rligida yoki jo’rsiz ijro etiladi. Ashula o’zbek musiqa folklorida katta o\u2019rin egallagan qo’shiq janridan kuy diapazonining kengligi, shaklan rivojlanganligi, mavzu va mazmuni teranligi bilan farqlanadi. Ashulaning badiiy mazmunida barmoq vaznidagi she’rlardan foydalanilsada, aruz vaznidagi g’azal va she’riy shakllar asosiy o’rin tutadi. Binobarin, Ashulaning ichki tuzilishi ham turlichadir. Barmoq vazniga asoslangan Ashulalar ko\u2019proq “band-Naqarot” shakli ko\u2019rinishida bo’lsa, g’azallarga bitilgan Ashulalar tuzilishi nisbatan murakkab va rivojlangandir. Odatda, bunday Ashulalarning kuylari quyi pardalardan boshlanib o’rta va yuqori pardalarida rivojlanadi, so’ngra dastlabki turg’un tovushda nihoyasiga yetadi. Aksariyat Ashulalar o’ziga xos avjlariga ega. Ashula janri tarixi uzoq o’tmishga borib taqaladi: ko’pincha professional musiqachi (bastakor-hofiz) lar ijodiyotining mahsuli bo’lib, bizgacha og’zaki ravishda yetib kelganligi tufayli qator Ashulalar ko’plab variantlarga ega. Ashulaning eng rivojlangan mukammal ko’rinishlari Buxoro va Xorazm maqomlarining Nasr (ashula) yo’llari, Toshkent va Farg’ona vodiysida keng tarqalgan maqom yo’llari, katta ashula janrida namoyon bo’lgan. Ashulalarda o’zbek xalqining ruhi, xarakteri, ma’naviy dunyosi o’zining badiiy yetuk va to’laqonli ifodasini topgan. Ad. Nota nashrlari: A. Navoiy so’ziga muzikalar, T., 1948; Muqimiy va Furqat ashulalari, T., 1958; O’zbek xalq muzikasi (to’plovchi va notaga oluvchi yu. Rajabiy), I\u2014V tomlar, T., 1955-59. To’xtasin G’afurbekov.<\/p>\n","protected":false},"excerpt":{"rendered":"
ASHULA \u2014 yakka xonanda yoki xonandalar guruhiga mo’ljallangan, mumtoz o’zbek musiqa merosida Markaziy o’rin egallagan ashula yo’li. Asosan lirik ruhdagi g’azal va she’rlar zaminida yuzaga keladi. Ashulalar soz (doyra, dutor, … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":9243,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[107],"tags":[],"class_list":["post-11765","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-harfi","entry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"kr","enabled_languages":["uz","kr","ru"],"languages":{"uz":{"title":true,"content":true,"excerpt":false},"kr":{"title":false,"content":false,"excerpt":false},"ru":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/11765","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/comments?post=11765"}],"version-history":[{"count":2,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/11765\/revisions"}],"predecessor-version":[{"id":158172,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/11765\/revisions\/158172"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media\/9243"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media?parent=11765"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/categories?post=11765"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/tags?post=11765"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}