ARTISTIC AND TECHNICAL POSSIBILITIES OF THE CHANG INSTRUMENT

Abstract

This article examines the historical development, technical improvement and performance techniques of the chang (dulcimer) in Uzbekistan. It discusses how, in the 1930s, the chang was reduced in size, its range was extended and it was adapted to the chromatic scale. It is also noted that various types of the instrument — the piccolo chang, the tenor chang and the bass chang — were created, and that their combined range amounts to five octaves. The article emphasises that, owing to its sonorous timbre and technical capabilities, the chang is used in ensembles, in folk instrument orchestras and as a solo instrument. The application of such performance techniques as urma zarb, cho‘p chertmak, sakratma zarb, tebratma and bog‘lama in chang playing and their place in performing practice are demonstrated. Information is also provided on the further extension of the instrument's sound range and the enhancement of its technical capabilities in the 1960s. At the same time, it is noted that in the course of this process there were experiments that had an adverse effect on the national colour and appeal of the instrument. Particular attention is given to the accomplished chang performers of Uzbekistan, their creative activity and the growing number of young people taking an interest in the instrument. The role and possibilities of the chang in the performance of maqom works are also covered. This article constitutes an important scholarly and practical source for research and creative work related to the chang.