Abstract
The uzbek national maqam art represents a significant achievement of the country’s centuries-old musical heritage. Today, the use of maqam heritage in contemporary compositional practice is characterized by the reinterpretation and transformation of traditional musical material within the framework of contemporary compositional thinking.This article employs the concept of transformation to denote the process through which musical material undergoes a transition from one state to another, while the structural and functional relationships between these states are either preserved or reinterpreted. The study examines the theoretical and methodological foundations of the concept of transformation and its significance in the process of reinterpreting musical material. From this perspective, the five-movement Concerto grosso, based on the Dugoh maqam of Shashmaqam, is analyzed as a practical example of the transformation process.The analysis considers how traditional maqam material in each movement is adapted to a new artistic and compositional context through the use of different instruments, performance techniques, and compositional methods. Particular attention is given to timbre and rhythmic transformation, textural reorganization, and processes of polythematic development.