Abstract
This article provides detailed information on the types, forms, and local characteristics of doyra usuls in the performance practice of Uzbek maqom art. In particular, the Bukhara Shashmaqom series includes Sarakhbor and its tarona, Nasr and its tarona; the Khorezm maqoms include Tani maqom and Iyfor; while the Fergana–Tashkent maqom series includes Bayot I–V, Chorgoh I–V, Husayniy Dugoh I–VII, and Shahnozi Gulyar. Comparative analyses are presented regarding the history, form, tempo, and the role and functions of the doyra usuls of Shahnozi Gulyar within the cyclical tradition.
The discussion highlights the influence of Bukhara Shashmaqom on other Uzbek maqom series, as well as the common and distinctive features of each. It is emphasized that the color of local folklorism is of primary importance, stemming from the uniqueness and local functions of vakhavi styles in performance practice. The study of maqoms, as part of the national musical heritage, is recognized as one of the most significant and responsible tasks facing musicologists and maqom scholars today. This article, albeit partially, aims to assist contemporary traditional musicians and spiritual singers in mastering the science of maqom both theoretically and practically.