SHASHMAQOMNING IKKINCHI GURUH SHO‘BALARI VA ULARNING IJROCHILIKPEDAGOGIK TALQINI

This article analyzes the musical and stylistic features of the second group of shobas
(sections) of Shashmaqom, one of the major layers of Uzbek classical musical heritage, with particular
attention to such works as Bukhara Iroqi, Rok, Qalandari Dugoh, Samandari Dugoh, and Saraxbori
Oromijon. The article examines the position of these shobas within the main Shashmaqom cycle, their
melodic structures, doira rhythmic patterns, the use of namud, poetic meters, and distinctive features of their
performance interpretations. It also highlights the role of the hafiz (traditional singer) school in transmitting
the traditions of Shashmaqom from generation to generation, as well as the educational and aesthetic
significance of this heritage from the perspective of the performing and pedagogical activities of
Uzbekistan’s People’s Hafiz and Professor Mashrabjon Ermatov.