Abstract
This article presents a comparative analysis of the historical roots, theoretical foundations, and spiritual-philosophical essence of the maqom and raga systems formed within the classical music traditions of Central Asia and India. The study demonstrates, based on scholarly sources, that both musical systems developed within oral traditions and were later transformed into written theoretical frameworks.
It is shown that maqom and raga share common structural principles, including modal organization, the relationship between principal and auxiliary tones, rhythmic patterns, improvisational development, and the dramaturgical logic of performance. The role of the Sufi milieu in shaping and enriching these traditions is also examined in detail. In particular, music is interpreted not only as an aesthetic phenomenon but also as a means of spiritual development, ethical education, and the expression of cosmological concepts. Using theтворчество of Amir Khusrau Dehlawi as an example, the article explores the issue of cultural and creative synthesis between maqom and raga, arguing that these similarities are the result of long-standing historical and spiritual interactions.