ONE INSTRUMENTAL ENCHANTMENT ALONG THE THREE MAQOM PATHS

Abstract

This article analyses the commonalities in the instrumental sections of the Bukhara, Khorezm, and Ferghana-Tashkent maqom traditions based on the concept of “one instrumental enchantment along the three maqom paths”. While maqom studies have often focused on the differences among these three traditions, this research aims to uncover the unifying musical principles. Using comparative analysis, structural-typological methods, and historical approaches, the study examines selected instrumental sections (e.g., Rost, Segoh, Chorgoh, Bayot, Navo) from each tradition. The results reveal that all three traditions share a two-part compositional structure (sarakhbor and tarona), identical modulation principles within the modal system, similar initial rhythmic patterns, and common techniques of repetition and variation. The discussion addresses the historical and cultural roots of these commonalities, particularly the intensive cross-regional creative contacts among musicians from the 16th century onward and their grounding in a unified “Science of Oriental Music”. Differences (e.g., fewer reprise elements in Khorezm or complex polyrhythms in Bukhara) do not invalidate the shared enchantment but instead display its richness. The article concludes that studying the instrumental sections of the three maqom paths as a single enchantment is of great importance for contemporary music education and compositional practice.