THE THEORETICAL AND PERFORMANCE INTERPRETATION OF USUL IN UZBEK MAQOM ART

This article examines the theoretical and performative essence of the concept of usul in Uzbek maqom art. The study interprets usul not merely as frame-drum (doira) strokes or rhythmic accompaniment, but as a complex phenomenon connected with the internal temporal system of the maqom composition, its structural organization, melodic rhythm, poetic expression, and performance interpretation. The actuality of the topic is determined by the fact that Uzbek maqom usuls have not yet been sufficiently represented in international comparative studies of Eastern modal music. The aim of the paper is to clarify the theoretical and practical role of usul in maqom cyclical structures. The research is based on theoretical-analytical and comparative methods, drawing on national maqom studies and selected international works on Turkish makam and Arabic maqam traditions. Particular attention is devoted to the general and local manifestations of usul in the Bukhara Shashmaqom, Khorezm maqoms, and the Fergana–Tashkent maqom traditions. The results demonstrate that usul determines melodic movement, cyclic organization, and the dramaturgy of maqom performance, while the theoretical and practical relevance of the study lies in strengthening the analysis and teaching of maqom rhythmic systems.

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