In the context of large-scale political, social, and cultural reforms in Uzbekistan, special attention has been paid to the revitalization of national art, particularly the musical heritage of maqom. Over the past five years, maqom education has expanded across all levels of formal and informal instruction, from preschool institutions to specialized schools and conservatories. Leading artists and traditional musicians have created a variety of vocal and instrumental versions of the Shashmaqom repertoire, ranging from solo and ensemble formats to innovative arrangements incorporating maqom intonations and rhythmic structures. This paper focuses on the interpretation of maqom in contemporary Uzbek pop music, taking Sokiynoma from the Savti Kalon vocal section of the Rost maqom as a case study. Various renditions by artists such as Maryam Sattorova, Mukhabat Shamaeva, Aziz Rajabiy, and Gulbahor Erkulova are analyzed to explore the intersection between tradition and modernity. While some interpretations maintain stylistic authenticity with the support of traditional instrumentation, others integrate electronic elements or adopt Western harmonic practices, sometimes at the expense of maqom’s expressive depth. A detailed comparison of performances by Sevara Nazarkhan, Umidakhon, and Gulsanam Mamazoitova demonstrates how maqom’s poetic and musical layers are retained or diluted in contemporary formats. The study concludes that effective pop adaptations of maqom must balance innovation with respect for the genre’s modal harmony, poetic content, and performance practices. Such work requires a refined musical sensibility from arrangers, sound engineers, and vocalists, and contributes significantly to the preservation and popularization of Uzbek national heritage through the lens of modern music.
| Mualliflar | Zarina Khodieva |
|---|---|
| Jurnal | Миллий маданият |
| Nashr sanasi | 2025-02-28 |
| Jild | 1 |
| Son | 1 |
| Betlar | 15-26 |
| DOI | 10.64681/yhdf8774 |
DOI: 10.64681/yhdf8774 · Maqolaning asl sahifasi · PDF
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