Abstract
This article examines the concept of the special term “Zullisonayn” associated with the classical arts, explores the creative activities of artists recognized as Zullisonayn, and discusses the phenomenon of not merely knowing two languages, but harmonizing the Uzbek and Tajik classical musical-poetic heritage through performance. In addition, the article analyzes the creative activities of Matluba Dadaboeva, People’s Artist of Uzbekistan and Tajikistan, professor, and maqom singer, in the development of traditional music, particularly Uzbek maqom performance. Particular attention is paid to the singer’s performance style, vocal capabilities, mastery in ensuring the artistic integration of classical poetry and maqom music, as well as the characteristics of her “Zullisonayn” identity, which reflect creative interactions between Uzbek and Tajik musical-poetic environments. Uzbek maqom art is a complex musical and aesthetic system that has developed over many centuries of historical and cultural processes, in which the role of the performer holds particular significance. In transmitting maqom to future generations, the singer appears not only as an artist who performs musical texts, but also as a creative agent who preserves and continues the essence, artistic-aesthetic principles, and performance traditions of maqom. The article evaluates Matluba Dadaboeva’s performance career not only as an expression of individual vocal artistry, but also as an artistic phenomenon connecting the musical and cultural heritage of the two peoples.