Таджикская национальная композиторская школа: этап восстановления и определения путей развития

Abstract

The aim of the research is to comprehend the cause-and-effect relationships and formulate conclusions about the prospects for the development of the Tajik national composer school. The paper presents the most difficult stage in the history of the Tajik national composer school, which was mainly due to the circumstances external to it, i.e. getting into the epicenter of the upheavals that engulfed the post-Soviet cultural space in the late XX century. It is determined that a balance of two types of musical professionalism – oral (traditional) and written (a composer’s) – is necessary for the development of the system of Tajik national musical culture. As a result of the research, it has been concluded that the full functioning of the Tajik national composer school requires the development of several areas in its activities: democratic genres (song genre, popular genre, musical drama), compositions for the orchestra of folk instruments, academic music. The main features of the Mongolian musical drama have been identified: direct continuity in the sphere of national traditions associated with the performing arts; reliance on folk melodiousness; position between two types of musical thinking – monodic and polyphonic.