Две порождающие модели музыкальной культуры Узбекистана

Two generative models of Uzbek musical culture emerged in the context of the coexistence of a traditional system, professional oral tradition music (a term by Faizulla Karomatov), and European-style compositional thinking. Based on this fact, the object of study is the work of contemporary Uzbek composers, focusing on their working methods centered on the interaction between Eastern and Western musical traditions. The relevance of the article stems from the need to understand the integration of traditional sound structures into compositional practices, as well as the mechanisms of their transformation. A balance between historical heritage and innovative techniques is an important prerequisite for modern national schools of composition. The methodology of the study is supported by the concepts of musical invariants and generative systems. Based on this, the structural and compositional principles of maqom[1] and katta ashula[2] are analyzed, as well as their adaptations by composers in the symphonic genre. Historical, stylistic and comparative methods are used. The basic questions addressed in the work concern the evolution of the national Uzbek compositional school. The first experiments, started in the second half of the 20th century, are characterized by the citation of maqom material, as well as the emergence of more complex forms of its synthesis with Western musical schools. Examples of the works of composers Rustam Abdullayev, Mirsadyk Tadjiyev, and Jahongir Shukur are demonstrated as various strategies for integrating traditional musical elements into original compositions. As a result of the conducted study, it can be argued that contemporary Uzbek musical culture represents a rather dynamic creative system, where the principles of professional music of the oral tradition form new polyphonic structures, notational expansions, and timbral solutions. Thus, the practical significance of this work will make it possible to apply the principles described in the study in composing education and technique, including the performing practice. In addition, further study of the mechanisms of interaction between Uzbek musical traditions in a global context will be productive.