This article comprehensively examines the historical stages in the formation of Uzbek traditional vocal art, its inseparable connection with the maqom tradition, and the distinctive features of performance practice. Using the examples of Shashmaqom and the Fergana–Tashkent maqom paths, the study analyzes the artistic and aesthetic principles of the classical performance school. The paper also highlights the contribution of masters such as Yunus Rajabi to the preservation and development of the national musical heritage. Furthermore, the article discusses the significance of traditional vocal art in contemporary society and its role in the education of the younger generation.
U.Kh. et al. (2026) studied this question.