Texture and time in the composition Aks Sado for solo cello by Jakhongir Shukur

This article focuses on the chamber instrumental composition "Aks Sado" by the Uzbek composer - Jakhongir Shukur, using the example of which such basic categories of musical language as texture and time are studied. The composition is an example of modern and traditional, monodial and many voiced, rational and emotional musical thinking. When creating this composition, the composer sought to synthesize the features of Uzbek traditional and modern academic music. It is important to note that the composer created this opus based on the study of such a genre of Uzbek traditional music as maqom. Transformed scales (modes), usuls and principles of form formation were borrowed from maqoms. Using the example of this composition, various types of texture are studied, which are a reflection of the features of the national musical language (various techniques with one sound, quart-quint (4-5) tapes-doubling, ostinato, etc.). The article uses analytical, systemic and comparative-typological research methods. At the end of the article, the author comes to the conclusion that the texture and time were greatly influenced by Fibonacci numbers, which are a discovery in modern composition, which speaks of the mathematical method of creating music in the ХХI century.

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