This article provides a comprehensive scientific, historical, and practical analysis of the historical stages in the formation of Karakalpak bakhshi art, as well as the traditions, continuity, and role of the "master-apprentice" school in the performance of dastans (epics). The performing styles of leading bakhshis (Akimbet, Musa, Suyu), the activities of female bakhshis (Hurliman, Qanigul), and the mechanisms for transmitting the national musical heritage to the younger generation in its original form are substantiated.
| Mualliflar | Gulshınar Quwanıshbay, Xudaybergenova Seytimbetov, Gulshınar Quwanıshbay, Xudaybergenova Seytimbetov, Gulshınar Quwanıshbay, Xudaybergenova Seytimbetov, Gulshınar Quwanıshbay, Xudaybergenova Seytimbetov |
|---|---|
| Jurnal | Санъат ва маданият Ахборотномаси |
| Nashr sanasi | 2026-06-06 |
| Son | 2026 |
| Betlar | 198-200 |
| Til | uz_Latn |
| DOI | 10.66900/mtje3397 |
DOI: 10.66900/mtje3397 · Maqolaning asl sahifasi
bakhshi art, dastan performance, master-apprentice school, Karakalpak music, performance style, national heritage, folklore., baqsıshılıq óneri, dástan atqarıwshılıǵı, ustaz-shákirt mektebi, qaraqalpaq muzıkası, atqarıw usılı, milliy miyras, folklor, искусство бахши, исполнение дастанов, школа наставник-ученик, каракалпакская музыка, стиль исполнения, национальное наследие, фольклор., baxshichilik san’ati, doston ijrochiligi, ustoz-shogird maktabi, qoraqalpoq musiqasi, ijro uslubi, milliy meros, folklor
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