FROM THE MUSIC HISTORY OF KHOREZM MAQOMS

From musical and historical phenomena, maqom traditions of Khorezm, in the collective sense, had a different designation. Thus, for example, in connection with the release of the series “Ўзбек халқ музикаси” / “Uzbek folk music”, the generalized concept of “Khorezm maqoms” has become firmly established, which, on the one hand, seems to us, somewhat distorts the genre features of high-style music of Khorezm, has become firmly established. In fact, in classical music of this region has a distinctly two historical forms – elite “Six and a half maqoms” and more simple democratic tradition “Dutar maqoms”. Such genre differentiation of classical music of Khorezm, on the one hand, creates convenience in carrying out comparative characteristics with the actual two-genre nature of Bukhara Shashmaqom (“basic canonical core” and “шуъбача”). On the other hand, and with a real two-genre specificity of Fergana-Tashkent maqom melodies, the so-called “Chor makom” – “Four maqoms” (Bayot, Dugoh Husaini, Chorgoh, Gulyor-Shahnoz) and a series of “Katta ashula” (Yovvoyi Ushshok, Yovvoyi Chorgoh and others). With such a genre layout, it becomes clear that in social and compositional-structural terms, the “fundamental layer” of Bukhara Shashmaqom” and “Six and a half maqoms” are phenomena of the same order. In addition, there are many similarities between “Шуъбача”, Dutar maqoms and Fergana-Tashkent maqom melodies