ORAL TRADITION AND ITS THEORETICAL FOUNDATIONS IN MAQOM SINGING IN UZBEKISTAN

Authors

  • Zamira Suyunova Professor of the Department of "Maqom Singing" Uzbek National Institute of Musical Art named after Yunus Rajabi

Keywords:

Maqom, oral tradition, Uzbek music, vocal pedagogy, ustoz–shogird, ethnomusicology, cultural transmission, theoretical foundations

Abstract

This paper explores the oral tradition and its theoretical foundations in the maqom singing art of Uzbekistan, one of the most significant expressions of Central Asian musical heritage. As an orally transmitted system, maqom embodies the fusion of musical theory, performance practice, and pedagogical transmission through the ustoz–shogird (master–disciple) relationship. The study investigates how oral tradition functions not merely as a teaching method but as a complex epistemological framework that shapes musical cognition, style, and identity. Drawing upon ethnomusicological research, field observations, and theoretical analysis, the paper argues that the oral tradition in maqom singing preserves both the technical precision and the philosophical essence of the genre. Its continued vitality in modern Uzbekistan reflects a balance between heritage preservation and innovation in contemporary music education.

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References

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Published

2025-10-31

How to Cite

Zamira Suyunova. (2025). ORAL TRADITION AND ITS THEORETICAL FOUNDATIONS IN MAQOM SINGING IN UZBEKISTAN. Journal of Applied Science and Social Science, 15(10), 1691–1694. Retrieved from https://www.internationaljournal.co.in/index.php/jasass/article/view/2302

Issue

Vol. 15 No. 10 (2025): Volume 15 Issue 10

Section

Articles

License

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