Abstract
The article examines the experience of the “socialization” of Eastern maqāmāt in the 20th–early 21st centuries, using Shashmaqom as a case study and focusing on institutional mechanisms that ensured its preservation and integration into contemporary music education. The aim of the study is to identify the key forms through which the tradition moved from oral transmission into the sphere of official cultural infrastructure and academic knowledge. The methodological framework combines historical-cultural and source-based analysis and considers educational and organizational practices as factors of the tradition’s sustainability. It is shown that the preservation of the Shashmaqom repertoire (over 300 independent pieces) became possible due to the combined efforts of tradition bearers and consistent state decisions. Particular attention is given to the complete notation of Shashmaqom produced by masters of the Bukhara classical school—Bobokul Fayzullaev, Shohnazar Sokhibov, and Fazliddin Shakhobov—in the 1950s–1960s, which formed a foundational source for the “classical” interpretation of the cycle for teaching and research. The article substantiates the role of the Department of Eastern Music at the Tashkent State Conservatory (initiated by F. M. Karomatov) as a structure integrating educational, scholarly, and revivalist performance practices and contributing to the development of maqom studies. The study concludes that a coordinated and ethically responsible policy of transmitting traditional knowledge is necessary under contemporary cultural transformations.