CULTURAL SEMANTICS OF TAJIK NAI

Abstract

The article discusses for the first time the plan of content of the Tajik transverse flute nai music and reveals its semantics. The cultural meanings of tunes are established by determining the features of the functioning of the nai in the culture. The traditional program titles of 380 instrumental compositions, the verbal texts of songs whose melodies are performed on the nai, and poems by Persian-Tajik poets mentioning this instrument are also analyzed. In classical poetry, the nai is an elite musical instrument, part of the palace and Sufi subcultures. It appears in them as an obligatory attribute of palace celebrations and as a channel of communication between man and God, respectively. In folk culture, nai is included in the most important calendar and family rituals. Nai's music also expresses a wide range of lyricism. The circle of images of music at the highest axiological level is determined by the opposition of nature and culture. The only representative of living nature and the main central link of this system is man. People are young and energetic. They are full of feelings, reflect on the meaning of life and are in harmony with nature. Children and women are desired and loved, men are fulfilled and successful. Inanimate nature is represented by phenomena and states associated with time. Of the seasons, spring is reflected in tunes; of the times of day, dawn. The main phenomena recorded are blooming flowers, mountains, water and the sky. The main cultural objects are cities, cultural regions and economically important places. A special place is occupied by holidays, numerous dances and intra-cultural reflection on the nai itself. The space of cultural meanings also includes the mathematical concept of number, which also acquires a symbolic interpretation.