Abstract
The article examines the rhythmic aspect of the embodiment of maqom traditions in the work “Mukhammas and Ufar” for string orchestra by Mirkhalil Makhmudov. The relevance of the study is determined by the growing interest in the interaction between traditional musical heritage and contemporary compositional creativity in the context of the renewal of national musical culture. Particular attention is paid to the analysis of the rhythmic organization of the composition, the identification of its connection with the canonical models of Uzbek maqom, as well as the peculiarities of their transformation within the framework of academic musical form. The study explores the methods of reinterpretation of traditional usul structures, the specifics of their adaptation to orchestral writing, and the preservation of the characteristic rhythmic plasticity of maqom thinking. The article also considers the features of the composer’s use of elements of oral musical tradition in written notation and the role of orchestral texture in conveying national musical color. The analysis of the work makes it possible to determine the importance of rhythm as one of the key factors of artistic expressiveness, form-building, and dramatic development of a musical composition. It is concluded that the appeal to maqom traditions contributes to the preservation and renewal of national musical heritage and expands the expressive possibilities of contemporary orchestral music.