Woodcarving

Author: Zhou Ji
Publisher:
Publish Date: 2005-01-01
Features: The Twelve Muqam is an outstanding classical music of the Uyghur people, referring to a large-scale musical suite. It is a vast musical treasure created by the Uyghur people and is renowned as the "Jade Pearl of Eastern Music." The history of the Twelve Muqam is very long, inheriting and promoting the musical traditions of ancient Western Regions music, such as the Quzi Music, Shule Music, Gaochang Music, Yizhou Music, and Yutian Music. By the Han and Tang dynasties, it had developed into a complete artistic form and had a positive influence on the development of Chinese music. In the 16th century, Queen Amanishah of the Yarkand Khanate organized musicians to systematically standardize the folk Twelve Muqam music, ensuring its preservation in a more complete form. Presently, there are various styles of Muqam music, including the Kashgar Muqam, Dolang Muqam, Hami Muqam, Turpan Muqam, and Ili Muqam, among others. Among these, the Kashgar Muqam is the most complete and representative, and it is widely spread in the northern and southern regions of the Tianshan Mountains. The Kashgar Muqam consists of ten sets, hence it is commonly referred to as the Twelve Muqam. The Twelve Muqam is a masterpiece that combines literature, history, music, dance, and folklore. The Uyghur Twelve Muqam is a significant contribution of the Uyghur people to the splendid culture of the Chinese nation. It uses various forms of language and art, such as music, literature, dance, and theater, to express the vibrant lives and noble sentiments of the Uyghur people, reflecting their ideals, pursuits, and the joys and sorrows born from the historical conditions of their time. It integrates traditional music, performed music, literary arts, theater, and dance, combining lyrical and narrative characteristics. This musical form stands out in the art history of all ethnic groups worldwide, truly exceptional. The history of Muqam is profound and extensive, evolving in synchronization with the historical eras of the Uyghur people. Although there are numerous tribes within the Uyghur folk culture, spanning vast regions, its musical culture exhibits multi-layered and multi-stream characteristics. Nevertheless, it remains distinct from the music of other ethnic groups due to its unique style. The origins of the Muqam can be traced back to two main points from an era and regional perspective: first, suites and songs developed from traditional music passed down through the ages; and second, regional music, including that of Kuche, Kashgar, Turpan, Hami, and Hetian, as well as Dolang music. These era and regional factors intertwine and permeate each other, forming a national melodic characteristic that reflects the lifestyle, ethnic traits, moral concepts, and psychological qualities of the Uyghur people. This characteristic is embodied through unique musical forms, performance methods, and distinctive instruments. This book is compiled to promote and introduce the Uyghur Muqam to a broad readership, striving to balance knowledge and academic rigor while providing a multi-faceted, multi-layered, and comprehensive narrative.