MAQOM SINGING – THE HIGH ART OF EASTERN MUSICAL HERITAGE
Abstract
This article provides a comprehensive overview of the art of maqom singing as a high form of Eastern musical heritage. It analyzes the historical roots of maqom performance, its stages of development, the role of the master-apprentice tradition, and processes harmonizing with contemporary interpretations. The article details the vocal skills required for a maqom singer, proper breath control techniques, tonal perception, understanding of the system of pitch modulation, and the performance characteristics of maqom sections (Saraxbor, Talqin, Nasr, Ufar, etc.).
Furthermore, it examines the artistic and aesthetic significance of classical poetic texts in maqom songs, as well as the singer’s skills in interpreting the text and integrating poetic meaning with musical expression. Historical maqom schools, particularly the vocal styles of Bukhara, Khorezm, and the Fergana–Tashkent maqom traditions, are compared, and differences in their performance techniques and artistic interpretations are illustrated with examples.
Keywords
Maqom, maqom singing, Eastern musical heritage, master-apprentice tradition, vocal technique, pitch modulation, Talqin, Nasr, Ufar, Saraxbor, classical poetry, artistic interpretation, performance art, maqom schools, Bukhara maqoms, Khorezm maqom routes, Fergana–Tashkent maqom route, ensemble, musical heritage, interpretation, stage culture, modern pedagogy, training young performers.
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