FROM THE HISTORY OF THE THEORY OF CIRCLES IN UZBEK CLASSICAL MUSIC

The doctrine of circles has its own internal hierarchy, which also proceeds from the strict principles of rationalism. Fundamental importance in the entire system is given to the category of frets under the general name maqamat. The criterion for determining the maqamat is the principle of proportional correspondence of the number of tones (steps) of the scale to the total sum of perfect intervals (octaves, quint and quarts) contained in it. That is why frets of the category maqamat belong to the category of asl. According to Abdulkadyr Maragi, the group of maqamati asli circles (main maqams) among Arabs was also known under other common names: shudud (“necklaces”) and advori mashkhura (everyday circles), and among ajam (not Arabs) peoples - parda or poppy fret). A total of twelve, and each of them has a certain structure and universal figurative and symbolic name: Ushshok, Navo, Busalik, Rost, Husayni, Hijaz, Rakhovi, Zangula, Irok, Isfakhon, Zerafkand, Buzruk [1, p. 78].