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Women Musicians of UzbekistanFrom Courtyard to Conservatory$
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Tanya Merchant

Print publication date: 2015

Print ISBN-13: 9780252039539

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252039539.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 24 June 2021

Beyond the Canon

Beyond the Canon

Feminizing the National Project through Traditional Music

Chapter:
(p.42) 1 Beyond the Canon
Source:
Women Musicians of Uzbekistan
Author(s):

Tanya Merchant

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252039539.003.0002

This chapter examines traditional music as a means to construct a cohesive pre-Soviet past in Uzbekistan. Traditional music encompasses three maqom traditions with roots in cities that currently exist within the borders of Uzbekistan: Xorazm maqom, Shashmaqom, and Tashkent-Ferghana maqom. The chapter first considers the history of the construction of the canon of traditional music in Uzbek institutions before discussing traditional music and maqom's links to nationalism in the city of Tashkent. It then looks at women's roles performing the great works in the maqom tradition, along with two masters of this tradition, Yunus Rajabi and Munojat Yulchieva. It also explores the role of maqom in the shift in cultural capital in Uzbekistan after independence. The chapter concludes with an assessment of dutar ensembles as an area of contested gender identity that is very much context dependent.

Keywords:   traditional music, Uzbekistan, maqom, nationalism, women, Yunus Rajabi, Munojat Yulchieva, cultural capital, dutar ensembles, gender identity

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