TODAY'S MAQAM ART

Аннотация

This article discusses the maqom of the present day and its future, the traditions of the maqom of the new era. Keywords: maqom, tradition, music, musician, concert stages. СЕГОДНЯШНЕЕ ИСКУССТВО МАКАМ Аннотация. В статье рассматривается маком сегодняшнего дня и его будущее, традиции макома новой эпохи. Ключевые слова: маком, традиция, музыка, музыкант, концертные площадки. In our independent land, important work is being carried out to develop professional musical traditions in new historical conditions32. It is known that maqom creativity constitutes the largest part of our classical musical heritage. In today's independent Uzbekistan, three main types of maqom - Bukhara Shashmaqom, Khorezm maqoms and Fergana-Tashkent maqom paths - are being implemented in musical practice. It is known that the performing art plays an almost decisive role in demonstrating the spiritual and artistic beauties embodied in maqoms in a live process and delivering them to the listener. Therefore, the centuries-old life and development of classical maqoms, among a number of factors, is undoubtedly inextricably linked to the high performing skills of the masters-memorizers and musicians. A vivid expression of these processes can be observed in the activities of dozens of artists, outstanding folk memorizers, and famous singers and musicians, both old and young. In this regard, the creative work of the outstanding musician, People's Artist of Uzbekistan, holder of the Order "For Great Services" Turgun Alimatov, People's Hafizs of Uzbekistan, singer, musician and composer Orifkhon Hotamov and Fattokhon Mamadaliyev, People's Artist of Uzbekistan, musician and composer Ganijon Toshmatov, People's Hafizs of Uzbekistan Muhammadjon Karimov, Kuvondiq Iskandarov, Hasan Rajabiy, People's Artist of Uzbekistan, Hafiz Otajon Khudoyshukurov, People's Artists of Uzbekistan, musicians and composers Gulomjon Hojikulov, Abduhoshim Ismoilov, Olmas Rasulov, People's Artists of Uzbekistan Munojot Yulchiyeva and Maryam Sattorova was especially instructive. In particular, these artists, like their predecessors - Yunus Rajabiy and Risqi Rajabiy, Fakhriddin Sodiqov, Haji Abdulaziz 1 85 International scientific journal ISSN: 2181-3906 «MODERN SCIENCE АND RESEARCH» 2025 VOLUME 4 / ISSUE 1 / UIF:8.2 / MODERNSCIENCE.UZ Rasulov, Domla Halim Ibodov, Matyusuf Kharratov, Komiljon Otaniyozov and others - were able to achieve unique performance interpretations of maqoms and works of composers, and founded a school in this direction that shared unique performance and creative styles. At the same time, the “principle of creative approach” is also observed in the collective (ensemble) performance of maqoms. In this regard, first of all, the composition of traditional maqom ensembles attracts attention. Nowadays, the traditions of maqom ensemble performance continue to live in our republic in new forms. For example, the leading creative team in the republic - the Yunus Rajabiy "Maqom" ensemble, while maintaining the important role of tanbur and doira instruments in this classical performance, widely uses other instruments such as ud and qanun (along with gijjak, nay, koshnay, chang, rubab). The work of recording new performance interpretations of Shashmaqom and Fergana-Tashkent maqom routes, which are the main part of the ensemble's repertoire, on CDs can be defined as one of the current creative tasks. After all, the ensemble's performance skills and accumulated creative energy acquired over many years are sufficient to solve such tasks. As is known, during the long history of maqom art, (local) performance schools were established, each with its own style. Among the largest of these centers, one can mention the schools of Bukhara, Samarkand, Khorezm (Khiva), Kokand, Khujand, Andijan, Tashkent. The good news is that now conditions have been created for the revival, continuation and development of the forgotten progressive creative traditions of these schools. In particular, in the Bukhara-Samarkand schools there was a tradition of "reading" the Shashmaqom aytim yolu on the basis of the Turkic-Uzbek ghazals (Lutfi, Sakkoki, Navoi, Mashrab, etc.) and Persian-Tajik ghazals (Ruda ki, Tabrizi, Hafiz, Jomi, Bedil, etc.). This tradition and other artistic aspects inherent in this oasis style are reflected in the activities of the "Maqomchilar" ensemble operating in Bukhara, in the activities of traditional ensembles in Samarkand, as well as some aspects of the Fergana-Tashkent maqom performance paths are being implemented in Tashkent by the ensemble led by Olmas Saidjonov, and in the valley by such ensembles as "Anor", "Sarvigul", "Meros". The ancient artistic traditions of Khorezm maqoms were revived by the "Maqom" ensemble named after Hojikhon Boltayev under the Khorezm Regional Television (founder Ruzimat Jumaniyozov, artistic director Bozorboy Urinov). In particular, the ensemble managed to reproduce the Khorezm maqoms "Rost", "Buzruk", "Navo", "Dugoh" and "Segoh" in the