Abstract
This article proposes to re-orient the study of music theory in Uzbek maqom from systematising models to a more dynamic, collaborative approach that draws on compositional creativity. While maqām-based traditions have often been analysed through tetrachordal structures and melodic pathways, these frameworks have not been able to account for contemporary modal practices in Uzbek maqom. Instead, Uzbek musicologists such as Is’hoq Rajabov, To’xtasin G’afurbekov and Ravshan Yunusov have shown that modal practice in Uzbek maqom and the related bastakor compositions depends heavily on borrowing and reworking melodies from extant pieces. The identification of source melodies as well as the techniques of reworking may however be open to interpretation. Drawing on Stephen Blum’s notion of music theory as an assemblage, I suggest that this openness can be a productive space for future research in Uzbek classical music, including maqom, xalq musiqasi repertoire as well as bastakor compositions. This research will invite musicians to share how they interpret the creative process of the composers, based on their knowledge of the repertoire. By exploring their diverse response, it is hoped that we can arrive at a more dynamic, locally grounded theory on Uzbek classical music based on on-going engagement with creativity within the tradition.