Abstract
This study addresses a critical gap in the scholarly understanding of dutar performance technique—specifically the functional use and notation of the right-hand fingers in sound production. Although a number of educational and methodological publications on dutar performance have been authored by renowned Uzbek and Tajik musicians and pedagogues, detailed treatment of right-hand finger technique remains insufficient. The article analyzes the physical, functional, and rhythmic characteristics of each finger, distinguishing between active and passive roles as well as external and internal sides used in accented and unaccented strokes. Based on traditional practices and the rhythm-syllable system known as atonin, the research proposes a revised order and labeling system for the fingers to improve logical clarity and instructional effectiveness. The study includes practical finger classifications, syllabic scanning patterns, and typologies of strikes. This approach not only contributes to the accurate interpretation of dutar music but may also prove useful for other plucked string instruments in Central Asian and wider musical traditions. The paper concludes that the problem remains under-researched and should be explored further in future studies.