Abstract
This article is devoted to a comprehensive historical, theoretical, and scientific-practical analysis of the influence of the Bukhara Shashmaqom on the structural system of the Khorezm maqoms. It examines in detail the stages of formation of the Khorezm maqoms, their internal structure, the system of sections and constituent parts, the principles of cyclic organization, as well as the distinctive features of their instrumental (chertim) and vocal (aytim) components.The study, based on comparative-analytical and integrative methods, reveals both the direct and indirect impact of the Bukhara Shashmaqom—finally established as a coherent system in the eighteenth century—on the maqom traditions of the Khorezm region. In particular, it compares modal foundations, pitch organization (parda structure), rhythmic-usul system, the Mansur–Manzum sections and the sequence of tarona, as well as the compositional logic underlying the placement of such maqom parts as tanimaqom, suvora, talqin, nasr, and naqsh, in accordance with scholarly criteria.Furthermore, the article substantiates the role of the structural model of Shashmaqom in the formation of the Khorezm “maqomoti” system, analyzes the process of its assimilation by the local performance school, and explains its reinterpretation in line with regional aesthetic principles. The internal regularities of maqom branches, melodic development, stylistic layers, traditional performance norms, and relevant historical sources are synthesized, leading to well-grounded scholarly conclusions.