TRADITION AND RENEWAL PROCESSES IN CONTEMPORARY MAQOM SINGING

Abstract

This article examines a relevant issue of maqom vocal art from scientific, theoretical, and performance-oriented perspectives. The study focuses on the vocal section of Shashmaqom, schools of maqom singing, modal and rhythmic thinking, artistic interpretation, oral tradition, and contemporary music education as interconnected phenomena. The methodological basis includes historical-typological analysis, comparative observation, source criticism, and aesthetic interpretation of performance practice. The analysis substantiates that maqom singing is not merely a set of vocal techniques, but a complex art involving the comprehension of poetic text, the perception of usul, the logic of climax and resolution, and the creative continuation of the master’s tradition. The findings may be applied in maqom vocal pedagogy, performance practice, repertoire selection, methodological observation, and further musicological research. The article emphasizes the need to preserve national schools while developing responsible contemporary interpretation and scholarly reflection. Thus, the study clarifies the theoretical and practical relevance of the selected topic.