Comparative analysis of Uzbek and Chinese national musical instruments

Abstract

The aim of this study is to comparatively examine Uzbek and Chinese national musical instruments from an organological perspective. Based on the assumption that cultural interactions—particularly those developed through the Silk Road over historical processes—have generated both similarities and differences among musical instruments across different geographical regions, the study is grounded in the hypothesis that structural features, sound production mechanisms, performance techniques, and functional uses of instruments in both musical cultures may exhibit convergences as well as divergences. The research is designed within the framework of a qualitative research approach and adopts a comparative research model. During the data collection process, academic sources in the fields of organology and musicology, instrument catalogs, and documents related to performance practices were examined; the obtained data were analyzed using descriptive and comparative analysis techniques. Within the scope of the study, five pairs of instruments representing wind, string, and percussion categories (nai–di, chang–yangqin, gijak–erhu, ud–pipa, nagora–bangu) were analyzed. The findings indicate that the compared instruments share significant similarities, particularly in terms of sound production principles and fundamental structural characteristics. However, notable differences were also identified with respect to materials used, physical dimensions, timbral qualities, and performance contexts. These differences appear to stem from each culture’s distinct musical aesthetics, historical development processes, and functional needs. The results of the study demonstrate that musical instruments are not merely technical constructs but also tangible indicators of cultural interaction. The research highlights the importance of cross-cultural comparative studies in the field of organology and contributes to a deeper understanding of the relationships between musical cultures. It is expected that the findings will provide a foundation for more comprehensive and interdisciplinary studies in the future. Further detailed organological research on Uzbek and Chinese national musical instruments is recommended.