Constructing musical tradition in Uzbek institutions (PhD)

Цитата:

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Central Asia is a region of tremendously diverse musical cultures,whose embedding in a complex Islamic-influenced, post-Soviet environmentrequires a broad and innovative scholarly approach. The case of Uzbekistandemands special attention to state-run institutions, because theyare so pervasive in the musical lives of both musicians and the generalpublic. This dissertation is grounded in extensive Uzbek- and Russian-languagefieldwork and archival research. It focuses on the institutionalizationof "traditional" music in Uzbekistan, and addresses the following research questions: How is the concept of "tradition" constructedand applied to the theory and practice of Uzbek music? How do discoursesof nationalism and regionalism come into play with this concept of"tradition?" How do institutions shape musical practices in orderto support discourses of nationalism, authenticity, and historical legacy? How do individuals within these institutions receive andremake these messages to fit their own agendas? How does the roleof women in Uzbek society affect their participation in musical communitiesand the types of music that they make? How do discourses of nationalismand "tradition" affect the different musics that they are appliedto, such as popular music, Shashmaqom (lit. "six modes," arepertoire traced back to the medieval courts of Buhara), and Westernclassical music? This work focuses on the relationship between individualmusicians and the hierarchies and standards set by state-run institutions;it also pays particular attention to the performance of gender bothat the conservatory and in the musical world more generally.

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