Shashmaqam represents the peak of the cultural interaction between the Persian cultural sphere and Central Asia; where classical Persian poetry forms the primary foundation for its mystical and romantic vocal pieces.
1. Historical Background and Origin
Name Derivation and Concept: The term "Shashmaqam" is composed of two Persian-Arabic parts: "Shash" (the number six) and "Maqam" (meaning station or musical mode). It refers to the six principal theoretical and musical structures of this collection. The historical roots of this form date back to the medieval centuries and the modal and dastgah-based musical traditions of the Persian cultural sphere. The peak of its development and final codification occurred during the era of the Emirs of Bukhara (18th and 19th centuries) in the court of that city, which was known as the scientific, artistic, and literary center of the region.
Link to the Persian Cultural Sphere: Shashmaqam can be considered a branch of the large tree of the modal and dastgah system of the Persian cultural area. The structure of its main maqams (Rast, Navo, Segah, Iraq, etc.) shares deep commonalities with the musical radifs of Iran. Furthermore, the primary instruments used—such as the Tanbur (long-necked lute), Dotar, and Oud—all have historical roots in the civilization of Greater Iran, emphasizing the role of this music in preserving and promoting the Persian identity in Transoxiana throughout the centuries.
2. Structure and Artistic Pillars
Shashmaqam is organized based on the following six principal maqams, each containing an extensive set of vocal and instrumental pieces:
1. Buzruk (Great): Often stately and solemn, performed as the first and largest maqam.
2. Rast (Right/True): A maqam conveying a sense of steadfastness and moderation, similar to comparable modes in the regional classical music.
3. Navo (Sound/Melody): A maqam carrying a deep sense of sorrow and grief, or a mystical state.
4. Dugoh (Second): Characterized by a gentle and tender feeling, one of the popular maqams for performing ghazals.
5. Segoh (Third): Possessing a feeling of excitement, joy, or sometimes sadness, with specific melodic intervals.
6. Iroq (Iraqi): The final maqam, often with a courtly and concluding character.
Internal Division of the Maqams: Each of these six maqams is divided into two main sections:
· The Instrumental Section (Mukhamma-lāt): Consisting of instrumental, non-vocal pieces that focus on rhythmic complexity.
· The Vocal Section (Nasr-ot): The lyrical and vocal part, essentially comprising ghazal singing. Nasr-ot presents Persian poetry in complex vocal forms with specific ornamentation (Tajik singing style).
Instrumentation and Performance: The performance of Shashmaqam is usually carried out by a small ensemble of musicians. The Tanbur (long-necked lute) plays a central and pedagogical role. Other main instruments include the Qichaq (fiddle), Oud, Dotar, and the main percussion instrument, the Dayereh (frame drum/daf).
3. Cultural and Literary Importance
One of the most crucial pillars of Shashmaqam is the use of Persian poetry. The poems are often selected from classical poets such as Hafez, Saadi, Jami, Bedil Dehlavi, and Kamal Khujandi. This fact has made Shashmaqam a repository of culture and has played a vital role in preserving and promoting the Persian language and identity in Transoxiana throughout the centuries. The accent and vocal performance style are primarily carried out in the Tajik dialect.
UNESCO World Heritage Status: As a symbol of deep cultural interaction in Central Asia, Shashmaqam was jointly registered in 2008 under the title "Oral and Intangible Heritage of Humanity" in the name of Uzbekistan and Tajikistan. This international registration not only confirmed its artistic significance but also guaranteed efforts to preserve it from the risk of oblivion or the dilution of its authentic identity in contemporary times.
4. Conclusion
Shashmaqam is more than just a musical style; it is an aural encyclopedia of the history, literature, and culture of Central Asia, maintaining its strong roots in the civilization of Greater Iran. Its modal and rhythmic complexity, along with its immense capacity to express mystical Persian ghazals, has established it as one of the most important cultural and artistic bridges in the region. Preserving and promoting this treasure ensures the continuation of a millennia-old tradition.