SHASHMAQOM SHASHMAQOM (Persian - olti and maqom) is a family of maqoms that occupy a central place in the musical heritage of the Uzbek and Tajik peoples; a set of classical melodies and songs that are closely interconnected by means such as pitch, melody, method, form, and style. It emerged as a result of centuries-old scientific and creative experience and research in the areas of musical folklore and professional music under certain conditions. Shashmaqom is an encyclopedic product of the art of a number of generations of composers as a result of the historically long development of national and regional classical musical traditions. In the musicology of the peoples of the Middle Ages, maqom mainly expressed the concept of pitch structures and the melodies and songs created in accordance with them. Maqoms initially developed in scattered forms, and in the 13th century, Safiuddin al-Urmawi brought them into the form of a theoretical system consisting of twelve main maqoms. After the 17th century, the Twelve Maqom System fell into crisis, and new national and local forms of maqoms began to emerge on its basis among the peoples of the East. In particular, in the middle of the 18th century, in the city of Bukhara, one of the largest cultural centers of Central Asia, the Shashmaqom was continuously formed in the creative performing activities of court musicians, singers and composers, and was also known as Bukhara maqoms, Bukhara Shashmaqoms. Among the types of Uzbek maqoms, Khorezm maqoms, Fergana-Tashkent maqom paths, as well as wild (free-form) maqoms, trumpet, dutar paths, and others developed under the influence of Shashmaqom. Unique examples of genres such as amal, kor, naqsh, peshrav, saut, tarona, qawl, which were widely used in the composition of the past, have reached us as part of Shashmaqam. Sh. It consists of maqams Buzruk, Rost, Navo, Dugoh, Segoh and Irak, and consists of more than 250 examples of melodies and songs of various forms. To this day, musicians, hafiz and composers have discovered many performing interpretations of maqam paths, and the voice, tanbur, trumpet, dutar and others have created single-part and series works on maqam paths, and created new melodies and songs based on them. Maqams were performed by musicians and singers individually, as well as in chorus and chorus. In particular, in the palace of the emirs of Bukhara, in the last period, the orchestra mainly consisted of 2 tanburs, 2 doiras (the doiras were also singers), Afghan rubab, sato or qubiz, and, if possible, bolamon instruments. The tanbur is the leading instrument in the performance of maqam. Because it has certain advantages in tuning its strings to the maqam frets and perfectly reproducing the maqam lines. The doira serves as a necessary tool for the musician and singers to perform the parts of the Shashmaqom according to the established method. The main tone of each maqam is unique and relatively stable, and some changes occur in its frets during the full musical performance of the series. Because in the formation of the Shashmaqom, other branches and maqam lines close to the maqam frets and melodically similar to the nature of the melody theme were also included in the composition of the 12 maqams. Their tonality may sometimes not correspond to the main maqom lines. Each of the maqoms that make up the shashmaqom consists of two large sections - instrumental (mushkilot) and asula (prose). In the instrumental sections, there are instrumental parts with the same name, the melodies of which are specific to the maqom melody to which they belong, and the circle methods are the same. The main ones are called Tasnif, Tarje, Gardun, Muhammas and Saqil. These parts are called in addition to the maqom names (such as Tasnif Buzruk, Tarjei Dugoh, Garduni Segoh), and some are called together with the names of the composers (such as Muhammasi Nasrulloyi, Sakili Islimkhan). Some instrumental parts have separate names (such as Naghmai Orazi Navoi), and in Dugoh and Segoh they are called in addition to the name of the maqom (such as Peshravi Dugoh, Samoi Dugoh, Khafifi Segoh). The instrumental parts of Shashmaqam are composed of khan and bazguy melodic structures. The pesrav style, which is used to develop regularly changing khans, is of particular importance. Instrumental parts such as Tasnif, Tarje, Nagmai Oraz, Samoi, Khafif are similar to each other and are small in size; Gardun and Pesrav are somewhat developed; Muhammas and Sakyl paths are created on the basis of long and complex circle methods. Although the internal structure of the instrumental paths of Shashmaqam is complex, with its smooth melody and variety, it is directly related to the themes of this maqam. These works express deep philosophical and diverse lyrical moods, and require listeners to have listening skills.