{"id":122182,"date":"2024-05-12T15:31:10","date_gmt":"2024-05-12T12:31:10","guid":{"rendered":"https:\/\/milliycha.uz\/?p=122182"},"modified":"2024-05-12T15:31:19","modified_gmt":"2024-05-12T12:31:19","slug":"maqam","status":"publish","type":"post","link":"https:\/\/milliycha.uz\/ru\/maqam\/","title":{"rendered":"Maqam"},"content":{"rendered":"\n<p>Maqam (Arab. \u2014 joy, parda, ton), makam (turk.) \u2014 Arab va turk mumtoz musiqasida asosiy tushunchalardan biri: 1) parda (ton, nag&#8217;ma) lar tizimi. Yarim va chorak tonli tovushqator tartibiga asos- lanadi. Arab an&#8217;anaviy musikasida rast, Zarkula, Duka, Kurd, Sikax, Busalik, Char- ka, Xigaz, Nava, Hisor, Husayni, agam, AUJ, Mahur, kardan, turk musikasida Egah, Nim Hisar, Ashiran, Ajam Ashi- ran, Irak, rast, Zirgyule, Dugah, Segah, Puselik, Sargah, Hijaz, Neva pardala-ri mavjud; 2) muayyan badiiymantiqiy ichki tartibga asoslangan tovushqatorlar tizimi {lad, tetraxord, pentaxord, gek- saxordlar). Pardalarning o&#8217;zaro birik- malari nihoyatda xilma-xil, murakkab va ko&#8217;psonli bo&#8217;lsada, ularning aso- siylari Arab musiqasida 9 ta \u2014 agam (Ajam), Nihovand, Rast, Bayati, Saba, Xigaz, kord, Sigah va Navesar, turk musiqasida 13 ta \u2014 Chargah, Puselik, Kurdiy, Rast, Ushshaq, Huseyniy, Neva, Hijaz, Humayun, Uzzal, Zengule, Karchi- gar, Syuzinek kabi asosiy M. mavjud- dir. Arab va turk M.lari o&#8217;zining kelib chiqishi, nazariy tizimlari, ijrochilik an&#8217;analari va badiiy-estetik mazmuni jihatidan o&#8217;zbek va tojik maqom san&#8217;ati b-n tarixan uzviy bog&#8217;liqdir. Abdumannon Nazarov.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Maqam (Arab. \u2014 joy, parda, ton), makam (turk.) \u2014 Arab va turk mumtoz musiqasida asosiy tushunchalardan biri: 1) parda (ton, nag&#8217;ma) lar tizimi. Yarim va chorak tonli tovushqator tartibiga asos- &hellip; <a href=\"https:\/\/milliycha.uz\/ru\/maqam\/\" class=\"more-link\">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":[217],"tags":[],"class_list":["post-122182","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-m-harfi","entry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"ru","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\/ru\/wp-json\/wp\/v2\/posts\/122182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/comments?post=122182"}],"version-history":[{"count":1,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/122182\/revisions"}],"predecessor-version":[{"id":122194,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/122182\/revisions\/122194"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media\/99837"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media?parent=122182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/categories?post=122182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/tags?post=122182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}