International bulletin of applied science and technology

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1116 
INTERNATIONAL BULLETIN OF APPLIED SCIENCE 
AND TECHNOLOGY
ECHNOLOGY 
 
UIF = 8.2 | SJIF = 5.955 
ISSN: 2750-3402 
IBAST
musician and composer Niyozjon Khoja went to Bukhara in the early 19th century to 
study "Shashmaqom" and promoted it in Khorezm. . 
In the second sources, it is said that the fragments of some parts of Khorezm status differ 
from each other in terms of structure and character. In any case, there is clear information 
that during the period of Muhammad Rahimkhan Soni-Feruz, the famous poet and 
musicologist Kamil Khorazmi and his son Muhammad Rasul Mirza and their students notated 
the six and a half maqams of Khorezm in the "Tanbur chizig’i". 
The fact that Khan himself was a mature poet, musician, composer, hafiz, based on the 
ancient maqam tunes, he created melodies related to "Navo", "Segoh", "Dugoh", his 
performances of Feruz I, II, III are popular among the people. it is mentioned that it has 
become famous. It is shown on the basis of clear sources that even Khorezm issued a decree 
declaring the maqams as the inviolable property of the people and severely punishing those 
who humiliated or violated the maqams. 
A number of musicologists have tried to notate the statuses of Khorezm. Matyusuf 
Devon, a well-known musicologist with Mulla Bekjon, published in Moscow in 1925, "Musical 
History of Khorezm", gave information about the structure, forms, and performance methods 
of Khorezm maqams and filled them with some musical notes. A well-known musicologist 
with Khorezm status. Romanovskaya was also involved and writes: 
"The maqams performed in Khiva during the time of the last khans (XIX century) and the 
maqams recorded by the expedition of the Institute of Art Studies of Uzbekistan in 1934 are 
actually the maqams of Bukhara. About 130 years ago, a musician named Niyozhoja brought 
these statuses from Bukhara to Khiva." 
No matter what opinions are expressed about it, in the performance of Khorezm 
maqams, we observe a separate school of performance that has special styles and forms, 
differs from "Shashmaqom" in terms of method and rhythm. During their time, the great 
representatives of the Khorezm school of performance emerged. Muhammad Yaqub Devan, 
Baba Buloman, Kamil Khorazmi, Muhammad Yusuf Bayani, Kurji ata, Polly Dozchi, 
Muhammad Rasul Mirza, Khudoybergan Muhrkan, Muhammad Yusuf Devon-Chokar, Matpano 
Khudoyberganov, Madrahim Sherozi, Khojikhan Boltaev, Komiljon Otaniyozov actors are 
among them. 
Another great composer is Matniyoz Yusupov (1925-1992), who studied Khorezm 
maqams from father Matpano, Madrahim Sherozi, Khojikhan Boltaev, Komiljon Otaniyozov 
and other teachers, and published them first in one volume, then in three volumes in 1980. 
The ranks of Khorezm come in the following order: Rost, Buzruk, Navo, Dugoh, Segoh, Iraq, 
Panjgoh. 
As for the direct structure and executive characteristics of Khorezm maqams, the 
branches in the Aytim section of Shashmaqom roads were preserved. But later, as a result of 
the rapid development of the Khorezm school of performance, we observe a lot of variability 
in the ways of singing. 
There is variability in the naming of some branches and performance characteristics. For 
example, parts of tarona are in "Rost" status, "Suvora", "Naqsh", "Crying"; "Sayri Gulshan" in 
"Buzruk", "Suvora", "Frayod", "Naqsh" in "Navo"; in "Dugoh" - "Suvora"; In "Segoh" - it is called 
"Pattern" and "Preface". Sarahbors, who are the main branches of Aytim branches, are known 
in Khorezm as Maqomi Rost, Maqomi Buzruk, Maqomi Navo, Maqomi Segoh, Maqomi Dugoh. 
Such a situation is also observed in chertim sections. 

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