Abstract
The article considers maqom as a structurally coherent yet dynamic model of musical thinking, relevant to contemporary compositional practice and music education. The aim of the study is to demonstrate how maqom, formed within the cultural space of Māwarannahr, functions not only as an исторico-cultural code of the East but also as a universal system of modal–intonational, rhythmic, and form-generating principles capable of adaptation in the 21st century. The methodological framework combines historical-theoretical analysis with a comparison of the treatise tradition (al-Fārābī, Ibn Sīnā, Ṣafī al-Dīn al-Urmawī, ʿAbd al-Qādir al-Marāghī), oral transmission practices (ustoz–shogird), and the results of maqom’s academic fixation in the 20th century. It is shown that the shift from predominantly oral existence to scholarly systematization (notated editions and studies by V. A. Uspensky, V. M. Belyaev, I. Radjabov, F. Karomatov, and O. Matyakubov) expanded the possibilities for analysis and pedagogical освоение of maqom without eliminating its improvisational nature. The article argues that key categories of Eastern theory—jins, the unity of melody and rhythm (ta’lif and iyqo’), and usul as cyclic rhythmic models—form an alternative logic of musical development based on the organic transformation of intonational material. Particular emphasis is placed on the timbral dimension of traditional instruments (tanbur, rubob, ghijjak, doira, etc.) as a resource for contemporary acoustic, electronic, and multimedia practices. The study concludes that maqom is productive as a methodological and artistic foundation for large-scale form, temporal–rhythmic organization, and new compositional strategies in contexts where tradition and innovation increasingly converge.