THE FORMATION OF SHASHMAQOM IN THE PALACE OF THE EMIRS AND ITS PERFORMERS

Authors

  • Erkin Ruzimatov Orzimatovich Professor, Department of Maqom Singing, Yunus Rajabiy Uzbek National Institute of Music

Keywords:

Shashmaqom, Bukhara Emirate, performance, musical heritage, ustoz–shogird system, Hafiz, Sozanda, cultural identity.

Abstract

This article provides a scientific exploration of the development of the Shashmaqom art form within the cultural environment of the Bukhara Emirate. The research examines the historical origins, performance practices, and pedagogical significance of Shashmaqom in the ustoz–shogird (master–student) tradition. It highlights the role of court musicians, their influence on musical aesthetics, and the continuing relevance of Shashmaqom in contemporary international music culture. Drawing upon the works of leading scholars such as Rasulov (2025), Abdinabiyevna (2024), and Karimova (2025), the study analyzes the fusion of artistic, spiritual, and social values that shaped this classical musical heritage.

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References

Rasulov, U. U. (2025). O‘zbek mumtoz musiqasi merosining milliy va umumbashariy qadriyatlari. France-Scientific Review of the Problems and Prospects of Modern Science and Education, 1(3), 8–13.

Abdinabiyevna, S. M. (2024). Cultural Continuity and Transformation in Central Asian Maqom Traditions. Journal of Ethnomusicological Studies, 2(4), 77–84.

Ulasheva, M. (2023). The Ethical Dimension of the Ustoz–Shogird Pedagogy in Maqom Performance. Central Asian Art Review, 3(2), 42–49.

Karimova, M. (2025). Shashmaqom Instrumental Performance and Pedagogical Renewal. Modern Science and Research, 4(3), 1002–1008.

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Published

2025-10-31

How to Cite

Erkin Ruzimatov Orzimatovich. (2025). THE FORMATION OF SHASHMAQOM IN THE PALACE OF THE EMIRS AND ITS PERFORMERS. Journal of Applied Science and Social Science, 15(10), 1730–1733. Retrieved from https://www.internationaljournal.co.in/index.php/jasass/article/view/2311