SURNAY PERFORMANCE SCHOOLS IN UZBEKISTAN

This article examines the historical development, pedagogical foundations, and performance characteristics of Uzbek national wind instruments, with particular emphasis on the surnay traditions of the Khorezm and Fergana–Tashkent schools. The study explores the role of the master–apprentice system in the transmission of performance techniques, repertoire, and artistic values, highlighting its significance in preserving musical continuity across generations. Special attention is given to breathing techniques, reed construction, sound production methods, and structural differences of the surnay within regional performance practices.

Based on comparative analysis of performance traditions, the research identifies key similarities and distinctions between the two schools, including differences in circular breathing, timbral qualities, reed design, and instrumental construction. The article also addresses the historical transition from traditional oral instruction to formal music education institutions during the twentieth century and evaluates the impact of this shift on the teaching of wind instruments.