REGIONAL DIMENSIONS OF UZBEK MAQOM ART: THE FERGANA-TASHKENT PERFORMANCE TRADITION IN CONTEXT

This study presents a comprehensive examination of the historical evolution and regional differentiation of maqom art within the cultural framework of Uzbekistan. It explores the formation of Uzbek classical music as an orally transmitted tradition and its sustained continuity through the master–apprentice system, which has played a crucial role in preserving and transforming musical knowledge across generations. Maqom is interpreted as a highly developed artistic system characterized by a complex modal–intonational organization, a structured rhythmic framework (usul), and a multi-layered formal and dramaturgical design. The article investigates the processes through which maqom traditions have diversified across regions, resulting in distinct local performance styles. Adopting a comparative analytical approach, the study highlights the structural integrity and formal discipline of the Bukhara–Samarkand Shashmaqom tradition, the emotionally expressive and timbrally rich performance style of the Khorezm school, and the flexible, lyrically oriented, and improvisation-driven practices of the Fergana–Tashkent tradition. Particular emphasis is placed on the latter as a distinctive performance paradigm, often described as a “free-form” system, as well as on its close relationship with the katta ashula genre. The findings demonstrate that regional performance traditions function not only as localized artistic expressions but also as dynamic factors contributing to the ongoing development and enrichment of Uzbek maqom art.