METHODOLOGICAL FOUNDATIONS FOR THE INTEGRATED STUDY OF BUKHARA MUSICAL CREATIVITY AND COMPOSITIONAL PRACTICE IN THE PEDAGOGY OF UZBEK MUSIC HISTORY
Abstract
This paper explores the methodology for integrating the rich musical heritage of Bukhara into the modern curriculum of Uzbek music history. Bukhara, as a historical epicenter of the Shashmaqom and the "Mavrigi" traditions, presents a unique case study for musicologists and educators. The study examines the transition from the oral "Ustoz-Shogird" (master-apprentice) tradition to formalized academic instruction, highlighting the roles of pivotal figures such as Ota Jalol Nosirov, Abdurauf Fitrat, and Viktor Uspensky. By employing an axiological and comparative pedagogical approach, this research delineates how the study of Bukhara’s regional style—characterized by its intricate melodic structures and philosophical depth—can enhance students’ understanding of national identity. The methodology emphasizes the use of archival notation, field recordings, and contemporary arrangements of classical maqoms. Ultimately, the paper argues that a focused study on Bukhara’s composers and arrangers provides a critical framework for preserving intangible cultural heritage while fostering innovation in modern Uzbek composition and music education.