Abstract
The article examines the artistic and functional features of doira rhythmic patterns in the instrumental sections of Shashmaqom. The study focuses on the rhythmic organization of Tasnif, Tarje, Gardun, Muxammas, and Saqil, as well as their connection with melodic development, the alternation of xona and bozgo‘y, and the gradual expansion toward climactic sections. The doira is considered not merely as an accompanying instrument but as a central rhythmic component of maqom performance, shaping musical motion, formal development, and emotional expression. The article also discusses the functional role of other percussion instruments, including nog‘ora, qayroq, and safoil, within traditional performance practice. Special attention is given to rhythmic syllables, patterns of strokes, pauses, and accents, through which the artistic character of Shashmaqom instrumental pieces is formed. The study demonstrates that rhythm and usul in maqom art are not external metric additions but internal structural principles that support the integrity of form, the expressiveness of performance, and the continuity of the traditional musical system.