Abstract
This article examines the artistic world of composer Igor Pinkhasov as a case of contemporary polystylistic thinking shaped by a sustained dialogue between Eastern maqom traditions and Western popular music, with The Beatles serving as a reference model of melodically concentrated song form. The study aims to identify the sources and mechanisms of Pinkhasov’s thematic thinking and to explain how national rhythmic and intonational models are integrated into academic, film, and electronic works. Methodologically, the paper combines contextual-biographical interpretation with stylistic analysis of the composer’s statements and selected works. It demonstrates that Pinkhasov’s early listening environment—Uzbek traditional and estrada recordings disseminated through the Tashkent record industry—formed his intonational ear and preference for memorable themes. The maqom component is interpreted as both a cultural memory associated with Bukhara heritage and a structural resource: modal turns, rhythmic cycles, and dance-derived patterns (Bukhara usul; Samarkand ufar in 6/8) are traced in works such as the Dance Suite and Paradoxes of Time. The latter is read as multi-layered stylistic dramaturgy without direct quotation. The article also considers the electronic album Igor Pinkhas. Time Helix (2015), where tanbur, oud, doira, and other instruments act as thematic and timbral agents rather than decorative color. The study concludes that Pinkhasov’s oeuvre exemplifies an intercultural synthesis in which maqom-based principles and song-like melodic thinking jointly sustain a coherent authorial language.