REGIONAL DIFFERENTIATION IN UZBEK MAQOM ART: ON THE EXAMPLE OF BUKHARA, FERGANA–TASHKENT AND KHOREZM MAQOMS

This article provides a scholarly analysis of the regional differentiation of Bukhara Shashmaqom, the Fergana–Tashkent maqom cycles known as Chormaqom, and the Khorezm maqom within the broader system of Central Asian maqomat. The study examines their shared and distinctive features on the basis of historical sources, including the chronicle Tarikh-i Bukhara, written materials from the sixteenth to nineteenth centuries, performance traditions, notation practices such as the “Tanbur line,” and master–disciple schools of transmission. Elements such as improvisation, the structure of sho‘ba (subsections), Sarakhbor, Talqin and Nasr cycles, the Suvora genre, and the tradition of katta ashula are identified as the principal factors defining regional distinctions.

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