KIRISH: ushbu maqola Xorazm bastakorlik anʼanasining nazariy-metodologik asoslarini o‘rganishga bag‘ishlangan. unda “bastakor” atamasi G‘arb kompozitorlik tizimidan farqli ravishda, Sharq monodik-maqomiy tafakkuri va parda-usul qonuniyatlari doirasida yoritiladi. bastakorlik san’ati Xorazm musiqa maktabining o‘ziga xos xususiyatlarini ochib beruvchi nazariy hamda amaliy jihatlar bilan izohlanadi. MAQSAD: tadqiqotning maqsadi — bastakorlik anʼanasining Sharq musiqiy tafakkuridagi o‘rni va metodologik asoslarini aniqlash, “bastakor” tushunchasining milliy musiqiy merosdagi o‘ziga xos talqinini ilmiy asoslashdir. MATERIALLAR VA METODLAR: maqolada maqom nazariyasi, parda-usul qonuniyatlari, musiqiy tahlil va tarixiy manbalar asosida qiyosiy metod qo‘llanilgan. bastakorlik anʼanasining amaliy ko‘rinishlari hofizlik va ijro san’ati bilan bog‘liq holda o‘rganilgan. NATIJALAR VA MUHOKAMA: tadqiqot natijalari bastakorlik san’ati G‘arb kompozitorlik tizimidan farqli ravishda monodik tafakkur, improvizatsiya va usuliy barqarorlikka asoslanganini ko‘rsatadi. Xorazm bastakorlik maktabi o‘zining parda tizimi, usuliy murakkabligi va ijro anʼanalari bilan milliy musiqiy merosda alohida o‘rin tutadi. XULOSA: bastakorlik anʼanasini nazariy-metodologik jihatdan o‘rganish Sharq musiqiy tafakkurining o‘ziga xosligini ochib beradi. bu yondashuv Xorazm bastakorlik maktabining milliy musiqiy merosni boyitishdagi ahamiyatini ilmiy asoslashga xizmat qiladi.
INTRODUCTION: this article is devoted to the study of the theoretical and methodological foundations of the Khorezm tradition of bastakor art. the term “bastakor” is interpreted not within the Western compositional system, but in the framework of Eastern monodic-maqam thinking and the principles of pitch-rhythm structures. PURPOSE: the aim of the study is to determine the role of the bastakor tradition in Eastern musical thought and to substantiate the unique interpretation of the term “bastakor” in the context of national musical heritage. MATERIALS AND METHODS: the study applied comparative analysis, maqam theory, pitch-rhythm principles, musical analysis, and historical sources. practical manifestations of the tradition were examined in connection with performance and vocal art. RESULTS AND DISCUSSION: findings indicate that bastakor art differs from Western composition, being based on monodic thinking, improvisation, and rhythmic stability. the Khorezm bastakor school holds a distinctive place due to its pitch system, rhythmic complexity, and performance traditions. CONCLUSION: studying the bastakor tradition from a theoretical and methodological perspective reveals the uniqueness of Eastern musical thought and confirms the importance of the Khorezm school in enriching national musical heritage.
ResearcherUz