Abstract
This article analyzes the historical stages of the development of maqom art formed in the territory of Uzbekistan, as well as its regional performance traditions, using a comprehensive and systematic approach. The study examines the formation of Uzbek classical musical heritage, its development based on oral tradition, and its transmission through the ustoz–shogird (master–apprentice) system across generations. Maqom art is interpreted as one of the highest expressions of Uzbek musical thinking, characterized by a complex modal-intonational structure, a developed usul system, and rich formal-dramaturgical organization.The article presents a comparative analysis of the historical formation of maqoms, their local stylistic features, and the specific characteristics of regional performance schools. In particular, the structured organization and performance discipline of the Bukhara Shashmaqom, the expressive vocal style and “pang ovoz” technique of the Khorezm tradition, and the free, lyrical, and improvisational nature of the Fergana–Tashkent maqom tradition are examined. Special attention is given to the development of maqom cycles, their formal-dramaturgical structure, rhythmic systems, and principles of intonational development. The study also highlights the “free-path” nature of the Fergana–Tashkent maqom tradition and its close relationship with the katta ashula genre.