The article is devoted to the original phenomenon of the traditional musical culture of the peoples of Central Asia — mustazod. The poetic and musical genre of mustazod in Tajik and Uzbek traditional musical practice is examined within the framework of the canonical Shashmaqom system. It is proposed to approach mustazod through the terminological combination of concepts — genre/form — reflecting its dual poetic and musical nature. The study reveals that the rhythm of the mustazod genre manifests in both poetry and music in structurally similar ways. Unlike the usual pattern where poetic forms originate in literature and later transition into music, mustazod represents a reverse case, where its use in musical practice contributed to the consolidation of the poetic form. Drawing on the research of Tajik scholar A. Nizomov, the article highlights the presence of mustazod in both folk and classical traditions. Central to its structure are two metrorhythmic figures from the classical aruz system — ahrabi makfufi hazaj and ahrabi makbuzi makfufi hazaj — which shape its rhythmic and poetic identity. A notable example of modern mustazod is the song “Dil oshiqi yor” by Abdullo Nazriev, based on a poem by Kamol Khujandi, widely recognized across Tajikistan, Afghanistan, and Iran.
| Mualliflar | Latofat Abdurashidova |
|---|---|
| Jurnal | Миллий маданият |
| Nashr sanasi | 2025-04-28 |
| Jild | 1 |
| Son | 2 |
| Betlar | 10-21 |
| DOI | 10.64681/4agfpt66 |
DOI: 10.64681/4agfpt66 · Maqolaning asl sahifasi · PDF
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