Abstract
This article examines mukhammās within the sphere of classical poetry as a five-line strophic form, enabling interdisciplinary parallels between poetic and musical organization. Similar principles of construction—cyclicity, repetition, and variation—are identified, manifesting both in the metro-rhythmic structure of the usul and in the compositional structure of poetic text. Special attention is given to a comprehensive study of the rhythmic formula of mukhammās in the system of maqom usuls, based on the instrumental cycle “Mushkilot” of Shashmaqom. A detailed analysis of its metro-rhythmic organization shows that the rhythm is based on a 16-beat cycle and can be interpreted as a five-part model with internal symmetry, hierarchical accents, and elements of variation. The system of conventional syllabic patterns (“bak,” “bum,” “ba-ka,” “ist”), used for the oral transmission of rhythmic formulas in doyra performance practice, is examined, and its didactic, mnemonic, and communicative functions are revealed. Particular attention is paid to the relationship between syllabic formulas and their sonic realization, allowing for the identification of mechanisms of preservation and transmission of tradition. The results contribute to a deeper understanding of the structural and performance principles of maqom music and broaden perspectives on the specificity of oral-professional musical culture.