To’ychi Hofiz, Toshmuhamedov Mulla To’ychi (1868 \u2014 Toshkent\u2014 1943.1.6) \u2014 xonanda, o’zbek ashulachilik san’atining yirik namoyandasi, O’zbekiston xalq hofizi (1927). Eski maktabda o’qigan (1878-84). Hofiz, Navoiy, Mashrab, Bedil, Fuzuliy kabi mumtoz shoirlarning ijodi bn yaqindan tanishib, ularning g’azallari bn ashulalar ijro etgan. T.h. yoshligidan amakisi Qo’chqor otadan ashula aytish sirlarini o’rgangan. Taniqli hofizlardan Abduqahhor, Saidahmad, Nazirxonlar bn hamnafaslikda “qo’shiq bazmi” kechalarini tashkil etgan. Dastlabki repertuaridan “Ey dastai gul, Marhabo”, “Fig’on”, “shitob aylab” kabi ashulalar o’rin olgan. Shojalil Hofiz, Shobarot tanburchi jo’rligida “ShahnozGulyor” ashulalar turkumi T.h.ga Shuhrat keltirgan (1890). Keyinchalik uning dovrug’i Turkiston o’lkasining hamma shaharlariga taralgan. T. h.o’ziijroetganashulalarnibirinchilar qatori gramplastinkaga yozdirgan, “Grammofon” jamiyatining “Pishuhiy Amur” firmasi (Riga, 1905; Skobelev, 1911) undan 25 ta ashula, jumladan, “ilg’or”, “Xisrav”, “Suvora” (uchalasi ham 2 qismli), “bobo Ravshan”, “yangi kurd”, “avji kurd” va b.ni yozib olgan. T. h. 1908-10 y.larda Farg’ona vodiysidan bo’lgan Adolatxon, Mozidaxon kabi ayol xonandalar ijrosidagi ko’shiqlarni ham birinchi marta gramplastinkaga yozdirgan. Uning tashabbusi bn Andijon, Farg’ona, Xo’jand va b. shaharlarda grammofon va plastinka do’konlari tashkil etilib (1906-12), ularda uzbek, rus va b. tillarda kuy, qo’shiq va ashulalari yozilgan plastinkalar sotilgan. T. h. Eron, Turkiya, Italiya, Misr, Hindiston (1900)da va Sharqiy Turkiston (1913-14) sh.larida bo’lib, o’z ijrochilik mahoratini namoyish qilgan. O’zbekistonda mahalliy xalq musiqa ansambllari tashkil etishda, 1920 y. larda sahnalashtirilgan “Farhod va Shirin”, “Layli va Majnun” spektakllariga musiqa tanlashda faol ishtirok etgan. 1927 y.dan umrining oxirigacha O’zbekiston Radioqo’mitasi o’zbek xalq cholg’u ansamblida ustoz xonanda, shuningdek, O’zbek davlat filarmoniyasining etakchi xonandasi bo’lgan. T.h. aytgan o’zbek mumtoz ashulalari \u2014 “Bayot”, “Fig’on”, “Ushshoq”, “Segoh”, “Girya”, “Ilg’or”, “Suvora”, “Chorgoh”, “Ko’cha bog’i”, “Taronai Dugoh” (“Dugohi Xusayniy” turkumining taronasi) va b. o’zbek musiqa madaniyatida muhim o’rin tutadi. T.h. ashulalari talqin etilishi, jumlalarining maromiga etkazib aytilishi, qochirimlarga boyligi, o’zbek musiqa an’anasidagi mumtoz ijro uslubi, ovozning kuchliligi bn o’ziga xosdir. Ayniqsa, noyob zebolik bn Navoiy g’azali (“Qaro ko’zum”)ga ijro etgan “Ushshoq” hofizlik san’ati yuksak namunasiga aylangan. T.h. Moskvada o’tkazilgan q.x. ko’rgazmasi (1923) va O’zbek san’ati dekadasi qatnashchisi (1937). T. h. repertuaridagi ashula matnlarining ko’pi shoir xislatning “Armug’oni Xislat” (T., 1912) bayoziga kiritilgan va bularning qaysi kuyda ijro etilishi ham ko’rsatilgan. Ittifoq radioqo’mitasi T. h.dan “Bayot” va “Ushshoq”ni (1937), San’atshunoslik inti (V. A. Uspenskiy) “Chorgoh”, “Bayot”, “ko’cha bog’i”, “Suvora” va b.ni yozib olgan. Sh. Shoumarov, Yunus va Rixsi Rajabiylar, K. Zokirov, B. Mirzaev va boshkalar T. h. ijrochilik an’analarining davomchilaridir. Toshkent Gramplastinkalar zdi va Qashqadaryo viloyati musiqali drama va komediya teatriga T.h. nomi berilgan. Vafotidan so’ng “Buyuk xizmatlari uchun” ordeni bn mukofotlangan (2000). Ad.: Nasriddinov B., To’ychi Hofiz, T., 1971. Baxriddin Nasriddinov.<\/p>\n","protected":false},"excerpt":{"rendered":"
To’ychi Hofiz, Toshmuhamedov Mulla To’ychi (1868 \u2014 Toshkent\u2014 1943.1.6) \u2014 xonanda, o’zbek ashulachilik san’atining yirik namoyandasi, O’zbekiston xalq hofizi (1927). Eski maktabda o’qigan (1878-84). Hofiz, Navoiy, Mashrab, Bedil, Fuzuliy kabi … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":99837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[187],"tags":[],"class_list":["post-130915","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-t-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\/130915","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=130915"}],"version-history":[{"count":1,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/130915\/revisions"}],"predecessor-version":[{"id":130923,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/130915\/revisions\/130923"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media\/99837"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media?parent=130915"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/categories?post=130915"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/tags?post=130915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}