Page 41 - ANSAMBL IJROCHILIGI: TARIX, NAZARIYA, AMALIYOT: Хalqaro ilmiy-amaliy seminar materiallari to'plami

peaceful life of residents, for example, during festivals, wedding processions, etc.
In Afghanistan it was naubat, as a symbol of political authority and traditionally
naubat ensemble is consisted of trumpets, horns and drums. The special military
ensembles were also called as naqqarakhana, which was normally situated
above the gates of the citadel, or the residence of the rulers. Naqqarakhana can
be seen in miniatures.
Chamber ensembles has been used in different kind of feasts, meetings,
receptions, etc. organized mostly by nobles and clergy. Performed traditional
(art or semi-art) music in such kind of events was fusion of Persian (which
includes Arabic and Turkic elements) and Indian musical heritage. Therefore,
the musical instruments that we can see in the territory of medieval Afghanistan
are the afghan rubab, dutar, dilruba, tanbur, sarinda, chang, santur, nai, duff,
tabla, local zerbaghali, dayra or dohol and others. Twelve parda-maqam system
of music has prevailed in vast territory of Great Khorasan. Performing of music
by chamber ensembles were strictly regulated. Nearly every manuscript on
music discusses the origins of the 12 maqams, as well as the proper time for their
rendering. The sounds of maqam were correlated with certain elements of
nature, were connected with the twelve constellations and were associated with
the colors. They had a deep connection with the human soul, and thus
constituted the internal manifestation of cosmic system. However, the study of
the manuscripts shows, that in the maqam aesthetics, the correlation of
performaning time with the seasons or the time of day and night was not
elaborated strongly (as it was in the corresponding Indian traditions), and this
relationship did not play a significant role, although it was mentioned in the
treatises that the 12 maqams were connected with the movement of the sun and
the constellations of the Zodiac. As for the 24 shu‘ba, they corresponded to 24
hours of a day and night and 360 naghmat with the days of a year. As for
performing ensembles of medieval Afghanistan one can found depictions in
miniatures, which showed a most popular combination of such musical
instruments as daff, ud, corner harp (chang), nai.
The British rule in Indian subcontinent and the new political situation,
caused by “Big Game” between Britain and Russia, significantly slowdown the
process of interrelation between the Central Asia and Indian regions in the 19th
centure. Historical and cultural changes brought innovations into musical
practice and theory. However, some musicians found their home out of India in
Afghanistan. Iranian [3] and Afghan [4] researchers in their investigations have
mentioned movements of Indian musicians (naqqarakhana musicians,
courtesans and dancing girls, Kashmiri musicians) into the courts of Afghanistan
and Iran (Qajar court). Almost hundred of Indian musicians and dancers were
brought to Kabul in the beginning of the 18 century by Amir Sher Ali Khan and
th
Amir Abdur Rahman Khan. Among them male singers – Satar Joo, Atta Hussain,
Qurban-ali; female singers (and possible dancers): Kakol, Gora (Gawhar), Soobi,
and her daughter, Ditoo (Dita) and Gulshah; sarang players: Ghulam Jilani and
Karim Hussain. They and their descendants made Kabul a centre for Hindustani

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