FATHER GHIYOS ABDUGANIEV
(1859-1927)
Father Ghiyos Abduganiev was a skilled performer of the Bukharian tanbur Soz. Shashmakom meticulously took up the instrument tracks and performed each Maqam tune in a hos style. From the 1920s, he taught shashmaqom instrumental (tanbur) tracks at the Bukhara School of Oriental music. In the early 20s, thanks to the initiative of Abdurauf Fitrat, the Shashmaqom instrumental tracks in the performance of Otagiyos Abduganiyev were recorded and published on the note for the first time. It is known that until the beginning of the 20th century, there were not many specialized status teams. They operated mainly in Bukhara, Samarkand, Khiva, Kokand, Khojand, Tashkent and other large cities, in particular in large-small palace conditions. Later, the Maqam ensembles were reconfigured in a new socio-cultural environment with the aim of promoting the creation of classical National Music extensively.
In the past, Maqam ensembles have performed Maqam without a holistic category or their individual instrumental and singing parts. In this, among other things, the Hafiz, who specialized in reciting such branches of the Shashmakom as interpretive, nasr, savt, were referred to as interpretive, nasrchi, savtkhan. They were accompanied by a tanbur, a circle or a compact instrumental ensemble.
In particular, by the end of the 19th century the Bukhara – specific Maqam ensemble typically consisted of two tanburs, dutor, qawbiz (or sato), a circle, and two to three co-opted Hafiz. Major status teachers such as father Jalal Nasirov, father Ghiyos Abdugani, Domla Halim Ibadov, Haji Abdulaziz Rasulov, Matyusuf Kharratov served in the schools of Oriental music, Samarkand Institute of music and choreography, which was founded in the 1920s.