Comparative analysis of Uzbek and Chinese national musical instruments

Abstract

For centuries, the musical art of Uzbekistan has developed in close interaction with various world cultures, primarily those of the East. Of particular interest are the centuries-old cultural ties between the peoples of Uzbekistan and China, which originated during the era of the Great Silk Road and are actively reviving in New Uzbekistan. The close relations between Uzbekistan and China represent an important factor in cultural interaction, the study of which is essential today on the basis of modern research methodologies. The miraculous power of music lies in its universality: it unites people of all nations equally and is accessible to everyone. Even in ancient times, music played a significant role in human life, as people clearly understood its therapeutic potential and its ability to foster an optimistic worldview. Depending on the nature of its emotional impact, various types of music emerged, intended for harmonious living and educational purposes. Folk instrumental music, shaped over centuries through the efforts of many generations, has developed into a unique aesthetic phenomenon of great significance not only for scholarship but also for contemporary musical creativity. Understanding its numerous properties and structural elements opens wide horizons for scientific research. The relevance of the chosen topic lies in the study of Uzbek and Chinese national musical instruments through comparative analysis methodologies, as well as in the development of a model of their interaction and mutual influence. The aim of the study is to identify the similarities and differences between the national musical instruments of Uzbekistan and China, such as the Uzbek chang and the Chinese yangqin, the Uzbek gidjak and the Chinese erhu, the Uzbek ud and the Chinese pipa. Based on the research results, typological similarities between Uzbek and Chinese national instruments have been identified, the processes of their formation over centuries of mutual contact and influence have been revealed, and prospects for further creative cooperation have been outlined.