Journal article Open Access

On the tarikat method in the instrumental music of the Bukhara Shashmakom

IBROHIMOV OQILXON AKBAROVICH


DCAT Export

<?xml version='1.0' encoding='utf-8'?>
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:adms="http://www.w3.org/ns/adms#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dct="http://purl.org/dc/terms/" xmlns:dctype="http://purl.org/dc/dcmitype/" xmlns:dcat="http://www.w3.org/ns/dcat#" xmlns:duv="http://www.w3.org/ns/duv#" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:frapo="http://purl.org/cerif/frapo/" xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#" xmlns:gsp="http://www.opengis.net/ont/geosparql#" xmlns:locn="http://www.w3.org/ns/locn#" xmlns:org="http://www.w3.org/ns/org#" xmlns:owl="http://www.w3.org/2002/07/owl#" xmlns:prov="http://www.w3.org/ns/prov#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:schema="http://schema.org/" xmlns:skos="http://www.w3.org/2004/02/skos/core#" xmlns:vcard="http://www.w3.org/2006/vcard/ns#" xmlns:wdrs="http://www.w3.org/2007/05/powder-s#">
  <rdf:Description rdf:about="https://doi.org/10.5281/zenodo.4534077">
    <rdf:type rdf:resource="http://www.w3.org/ns/dcat#Dataset"/>
    <dct:type rdf:resource="http://purl.org/dc/dcmitype/Text"/>
    <dct:identifier rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://doi.org/10.5281/zenodo.4534077</dct:identifier>
    <foaf:page rdf:resource="https://doi.org/10.5281/zenodo.4534077"/>
    <dct:creator>
      <rdf:Description>
        <rdf:type rdf:resource="http://xmlns.com/foaf/0.1/Agent"/>
        <foaf:name>IBROHIMOV OQILXON AKBAROVICH</foaf:name>
        <org:memberOf>
          <foaf:Organization>
            <foaf:name>Doctor of science, Art criticism, Professor at the State Institute of Arts and Culture of Uzbekistan, Uzbekistan</foaf:name>
          </foaf:Organization>
        </org:memberOf>
      </rdf:Description>
    </dct:creator>
    <dct:title>On the tarikat method in the instrumental music of the Bukhara Shashmakom</dct:title>
    <dct:publisher>
      <foaf:Agent>
        <foaf:name>Zenodo</foaf:name>
      </foaf:Agent>
    </dct:publisher>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#gYear">2021</dct:issued>
    <dcat:keyword>maqom, theme, tariqat, Central Asia, anemitonics, Shashmaqom, tradition, muskilot, nasr, tanbur, doira, usul,</dcat:keyword>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#date">2021-01-31</dct:issued>
    <dct:language rdf:resource="http://publications.europa.eu/resource/authority/language/ENG"/>
    <owl:sameAs rdf:resource="https://zenodo.org/record/4534077"/>
    <adms:identifier>
      <adms:Identifier>
        <skos:notation rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://zenodo.org/record/4534077</skos:notation>
        <adms:schemeAgency>url</adms:schemeAgency>
      </adms:Identifier>
    </adms:identifier>
    <dct:isVersionOf rdf:resource="https://doi.org/10.5281/zenodo.4534076"/>
    <dct:description>&lt;p&gt;In the Middle Ages, the Arabic word &amp;ldquo;makom&amp;rdquo; was enriched with another meaning - it symbolized the path to self-improvement, more precisely, the stages of spiritual perfection. &amp;nbsp;It acquired this meaning largely thanks to the Sufi teaching (at-tasawwuf) about the perfect person, which at that time was widespread among the most diverse strata of Muslim society and had a strong influence on artistic creativity. In particular, the ideas of sufizm were reflected in oral folk art, in classical poetry, the art of book miniatures, architecture and classical music. Music occupies a special place in this series: maqom seeds are a kind of musical embodiment of the steps of cognition. The ideological basis of his philosophical wisdom is primarily the teaching of the tasavvuf about the perfect man.&lt;/p&gt; &lt;pre&gt;&lt;strong&gt;Keywords: &lt;/strong&gt;maqom, theme, tariqat, Central Asia, anemitonics, Shashmaqom, tradition, muskilot, nasr, tanbur, doira, usul,&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;/pre&gt; &lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/p&gt;</dct:description>
    <dct:description>This article has been published at www.easij.com , Vol.#3, Issue: 1, January 2021.</dct:description>
    <dct:accessRights rdf:resource="http://publications.europa.eu/resource/authority/access-right/PUBLIC"/>
    <dct:accessRights>
      <dct:RightsStatement rdf:about="info:eu-repo/semantics/openAccess">
        <rdfs:label>Open Access</rdfs:label>
      </dct:RightsStatement>
    </dct:accessRights>
    <dcat:distribution>
      <dcat:Distribution>
        <dct:license rdf:resource="https://creativecommons.org/licenses/by/4.0/legalcode"/>
        <dcat:accessURL rdf:resource="https://doi.org/10.5281/zenodo.4534077"/>
      </dcat:Distribution>
    </dcat:distribution>
    <dcat:distribution>
      <dcat:Distribution>
        <dcat:accessURL>https://doi.org/10.5281/zenodo.4534077</dcat:accessURL>
        <dcat:byteSize>1280221</dcat:byteSize>
        <dcat:downloadURL>https://zenodo.org/record/4534077/files/easij.com - 3.1 - 1 - 2021   On the tarikat method in the instrumental music of the Bukhara Shashmakom.pdf</dcat:downloadURL>
        <dcat:mediaType>application/pdf</dcat:mediaType>
      </dcat:Distribution>
    </dcat:distribution>
  </rdf:Description>
</rdf:RDF>
6
3
views
downloads
All versions This version
Views 66
Downloads 33
Data volume 3.8 MB3.8 MB
Unique views 66
Unique downloads 33

Share

Cite as