
Contents
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Musical Sounds of Arranged Folk Versus Traditional Music Musical Sounds of Arranged Folk Versus Traditional Music
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Shared History, Shared Revival Tropes, and Diverging Narratives Shared History, Shared Revival Tropes, and Diverging Narratives
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Historical Development Historical Development
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Shared Pre-Soviet History Shared Pre-Soviet History
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Reconstruction Projects: The Development of Arranged Folk Music Reconstruction Projects: The Development of Arranged Folk Music
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Yunus Rajabi—Codifying and Standardizing Traditional Music Yunus Rajabi—Codifying and Standardizing Traditional Music
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The State Conservatory The State Conservatory
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The Post-Soviet Situation The Post-Soviet Situation
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The Golden Legacy The Golden Legacy
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Modernizing Ancient Traditions Modernizing Ancient Traditions
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Internationalism/Universalism Internationalism/Universalism
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Academic/Literate Music Academic/Literate Music
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Conclusion Conclusion
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Notes Notes
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References References
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Discs Cited Discs Cited
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12 Revived Musical Practices within Uzbekistan’s Evolving National Project
Get accessTanya Merchant, Assistant Professor of Music, University of California, Santa Cruz, USA
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Published:16 December 2013
Cite
Abstract
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. Two contrasting revivals of Central Asian music support Uzbekistan’s national project: arranged folk music and traditional music. Arranged folk music came to the region via the instrument reconstruction projects of Ashot Petrosiants, who helped create folk orchestras in Uzbek institutions. In contrast, traditional music includes the three maqom repertoires associated with Uzbek cities, the most famous of which is the Shashmaqom of Bukhara (famously codified by Yunus Rajabi). Despite many points of difference, these musical styles both support the notion of a long and sophisticated Uzbek musical history. Both are also examples of modern institutionalized musics that are labeled “folk” and “traditional.” The changes in the discourses surrounding these genres during Uzbekistan’s transition from Soviet Republic to independent nation elucidates the complex connections between revived musics and nationalism.
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