Abstract
This article explores the development and distinctive features of the prelude and fugue as a leading polyphonic genre in the creative output of Uzbek composers. Through the lens of works by such authors as G. Mushel, T. Kurbonov, and N. Gʻiyosov, the organic interrelation between European polyphonic traditions and the Uzbek national monody is analyzed. The author reveals the impact of the national mode-tonal system, folkloric material, and the principles of maqom on the structure of the fugue. Special emphasis is also placed on the principles of ostinato in polyphonic works and the psychological aspects of the composition process. This research holds significant scientific value for studying the formative stages of polyphony and organ performance within Uzbek music.