Abstract
This article discusses the formation of vocal and instrumental melodies characteristic of the Fergana-Tashkent musical school, their connection with the Shashmaqom system, and their current state. The philosophical and musical foundations of the Fergana-Tashkent instrumental tradition are analyzed, particularly the melody “Cho‘li Iroq”, its meaning, structure, and historical origins. The article scientifically explores the interaction between folk musical creativity and the art of maqom, the integration of maqom elements into folk melodies, and the continuity of these traditions in modern instrumental performance
References
1. Ибрагимов О. Фергано-Ташкетские мақомы. - Ташкент: Media Land, 2006. - 176 с.
2. Mo‘jiziy Ismatulloh bin Ne’matulloh. “Tavorihi Musiqiyun” (Musiqa tarixi). Qo‘lyozma, Hotan, 1854.
3. Ражабов И. Мақомлар масаласига доир. - Тошкент: Ўзбекистон давлат бадиий адабиёт нашриёти, 1963. - 253 б.
4. Ражабов И. Мақомлар (нашрга тайёрловчи ва махсус мухдррир О.Иброхимов). - Тошкент: Санъат, 2006. - 404 б.
5. Ражабов И. Мақом асослари. // Уқув-методик кўлланма. Юнусов Р. тахрири остида. - Тошкент, 1992. - 89 б.
This work is licensed under a Creative Commons Attribution 4.0 International License.