Abstract
The article examines the role of Komil Khorezmi in the history of Uzbek musical culture at the turn of the nineteenth and twentieth centuries. It analyzes his activities as a composer, musicologist, and educator, particularly his establishment of the musical notation system known as the “tanbur notation.” This method is presented as a unique phenomenon of its time and an important source for recording the Khorezm maqoms and transmitting them to future generations. The article highlights Khorezmi’s significance in the cultural environment of Khiva, his literary, calligraphic, translational, and administrative legacy, as well as the interconnection of his scholarly and creative work with the ideas of enlightenment. Special attention is given to his work “Divan-i Komil”, his innovations in the maqom system, and his educational initiatives, including the establishment of the Russo-native school. Khorezmi’s musical and scholarly heritage is interpreted as a crucial stage not only in the development of Khorezm classical music but also in the formation of Uzbek musical culture as a whole. Thus, the activity of Komil Khorezmi appears as an example of the synthesis of tradition and innovation, retaining its scientific and cultural significance in the modern context.