Uzbek music in Western style: the influence of folk traditions in the piano works of Georgi Mushel

Abstract

This project focuses on Uzbek folk music elements in Soviet composer Georgi Mushel’s piano compositions. Through a detailed analysis of a selection of Mushel’s piano compositions, I have developed an informed interpretation of the folk elements in these works.

By working closely with native musicians and ethnomusicologists, Mushel absorbed the national music of the region. As Vaughan Williams wrote: “The great masters of music have never hesitated to build on folk-song material when they wished to” (1934, 80). Though Mushel was born in Russia and had French ancestry, he lived the majority of his life in Uzbekistan and tied himself up with Uzbek culture. He was influenced by the music of the region and felt its beauty which is expressed in his works.

Uzbek folk and traditional music is a vibrant reflection of the country’s diverse cultural history. It is characterized by modal scales, rhythmic cycles, and melodic ornamentation often performed with traditional instruments like the dutar, rubab, ghijak, doira, and nay. I found evidence of these musical elements and imitation of dutar and doira timbre in Mushel’s three piano compositions.

In this study, I explored whether the original Uzbek folk songs used by Georgi Mushel in his piano compositions are accessible today through scores or recordings. I also examined the specific musical elements from Uzbek folk traditions that Mushel incorporated into his works. Finally, I investigated how the stylistic nuances of Uzbek music mentioned above can be interpreted and expressed effectively on the piano.