This article explores the unique syncretic nature of the Karakalpak epic art (Dastan), focusing on the harmony of word, melody, and performance. The author analyzes the historical and stylistic transformations in the transition of epic performance from traditional folklore to professional academic performance. The article highlights the distinctive features of the "Jirov" and "Bakhshi" performance schools, specifically examining the technical capabilities of the "Ala Moynaq" dutar, as well as the artistic functions of rhythmic strokes (zarb) and musical articulation. Furthermore, the synthesis of traditional "master-apprentice" traditions with modern pedagogical technologies (vocal physiology, music literacy) is scientifically substantiated. The study presents conclusions for the development of modern epic performance education.
| Mualliflar | L.G., Maxamadinova Oteshova, L.G., Maxamadinova Oteshova, L.G., Maxamadinova Oteshova, L.G., Maxamadinova Oteshova |
|---|---|
| Jurnal | Санъат ва маданият Ахборотномаси |
| Nashr sanasi | 2026-03-02 |
| Son | 2026 |
| Betlar | 236-241 |
| Til | uz_Latn |
| DOI | 10.66900/bb4vjg46 |
DOI: 10.66900/bb4vjg46 · Maqolaning asl sahifasi
karakalpak folklore, epic art (dastan), jirov, bakhshi, synthesis of word and melody, dutar performance, ala moynaq, rhythmic strokes (zarb), music pedagogy, master-apprentice tradition., qaraqalpaq folklorı, dástanshılıq kórkem óneri, jıraw, baqsı, sóz hám nama sintezi, duwtar atqarıwshılıǵı, ala moynaq, soqqı túrleri, muzıka pedagogikası, ustaz-shákirt dástúri., каракалпакский фольклор, искусство сказительства, жырау, баксы, синтез слова и мелодии, исполнительство на дутаре, ала мойнак, виды ударов, музыкальная педагогика, традиция наставник-ученик., qoraqalpaq folklori, dostonchilik san’ati, jirov, baqsi, so‘z va kuy sintezi, dutar ijrochiligi, ala moynaq, zarb turlari, musiqa pedagogikasi, ustoz-shogird an’anasi.
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