Abstract
This article explores the historical evolution and contemporary development of the Uzbek compositional school, with a particular focus on its integration into choral music and intercultural collaborations with Arab musical traditions. The formation of the Uzbek school of composition is examined in the context of socio-political transformations in the region and the influence of national cultural policies. The establishment of the Tashkent Conservatory in 1936 played a key role in synthesizing Western European musical theory with the rich heritage of Uzbek folk music. This synthesis contributed to the creation of unique academic compositions grounded in traditional melodies and national imagery.
In the modern era, Uzbek composers are increasingly engaged in intercultural projects, particularly with Arab musicians, aiming to preserve and reinterpret traditional songs through contemporary choral and orchestral techniques. The article presents a detailed case study of the composition Adsani, collaboratively developed by Kuwaiti and Qatari composers and arranged by Uzbek composer Nodirbek Makharov. The work exemplifies the orchestration of traditional Arab melodic material for soloists, mixed choir, national instruments, and symphony orchestra, incorporating characteristic modal structures (maqamat) and rhythmical patterns.
The study identifies several key methodological approaches: restoration and adaptation of traditional Arab songs, incorporation of modern genres and electronic instruments, development of new choral arrangements tailored to various ensemble types, and the organization of international performances as a tool for cultural promotion. These practices enable the creation of hybrid musical forms that maintain cultural authenticity while engaging contemporary audiences.
The research highlights the growing significance of choral music as a medium for cross-cultural exchange and underscores the potential of collaborative compositional work to foster dialogue between musical traditions. The findings contribute to the broader discourse on globalization in music and demonstrate how the fusion of Uzbek and Arab musical idioms expands the expressive capacities of modern choral art.