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date: 25 February 2020

Abstract and Keywords

This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. Two contrasting revivals of Central Asian music support Uzbekistan’s national project: arranged folk music and traditional music. Arranged folk music came to the region via the instrument reconstruction projects of Ashot Petrosiants, who helped create folk orchestras in Uzbek institutions. In contrast, traditional music includes the three maqom repertoires associated with Uzbek cities, the most famous of which is the Shashmaqom of Bukhara (famously codified by Yunus Rajabi). Despite many points of difference, these musical styles both support the notion of a long and sophisticated Uzbek musical history. Both are also examples of modern institutionalized musics that are labeled “folk” and “traditional.” The changes in the discourses surrounding these genres during Uzbekistan’s transition from Soviet Republic to independent nation elucidates the complex connections between revived musics and nationalism.

Keywords: Uzbek, music revival, Central Asia, music, maqom, Shashmaqom, instrument reconstruction, folk orchestras, institutionalization, nationalism, Yunus Rajabi, Ashot Petrosiants

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