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ON SOME ASPECTS OF THE TERMINOLOGY OF POP MUSIC IN UZBEKISTAN
Mulladjanov Davlat Mavlanovich
Associate Professor, Department of Art and Cultural Studies,
State Institute of Arts and Culture of Uzbekistan
mullajonovdavlat@gmail.com
Abstract:
This article explores the terminology of a relatively young aspect of Uzbek musical
culture – pop music – and its associated terms such as «light», «mass», «beat», «rock» and
«everyday music».
Keywords:
Estrada, musical stage, light music, pop music, mass music, beat, rock, everyday
music, classical music, performing arts, genre.
INTRODUCTION
Uzbek estrada music, which began to develop rapidly in the 1950s and 60s, reached the level
of a sizable “music industry” by the 1990s and acquired a unique mass character within a
historically short period. In particular, pop songs form a significant portion of the music
performed during national celebrations such as Independence Day, Navruz, and other public
holidays, as well as in music programs on Republican TV, radio stations, and various concert
shows.
At the same time, our independent homeland has become a center for international, regional,
and national festivals and music competitions. Since 1995, the Republican Song Festival
«Uzbekistan – My Homeland» has been held regularly, along with the International Music
Festival «Sharq Taronalari» (since 1997) and the Republican Festival of New Professional
Songs «Sado» (since 1999).
Moreover, the 1990s witnessed the emergence of many new names in pop music – both
singers and musical groups. Artists of the new generation continue the creative legacy of
People’s Artist of Uzbekistan Farrukh Zokirov and the ensemble “Yalla,” as well as Mansur
Toshmatov, Gulomjon Yakubov, and Nasiba Abdullayeva – names recognized both locally
and abroad. In a short time, figures like People’s Artist of Uzbekistan Yulduz Usmanova and
Nuriddin Khaydarov, along with Honored Artists such as Kozim Kayumov, Kumush
Razzokova, Ravshan Namozov, and others, rose to prominence in the pop scene.
Uzbekistan provides ample opportunities for the development of estrada music. Given its
appeal to millions of listeners – especially its influence on the spiritual education of the
younger generation – presidential decrees and cabinet resolutions have been adopted to
ensure its development in line with contemporary needs [2]. The political and social changes
over the past decade have created fertile ground for the qualitative renewal of national music.
Today, we witness the emergence of various styles and trends within the rapidly evolving
domain of pop music. These developments are particularly evident in the rhythmical structure
of songs [3], a core genre of pop music.
This is only natural, as artistic processes that occur at historical turning points are most
visibly reflected in the genre’s most popular elements – melody and rhythm [4]. Notably, in
recent decades, the melodic sources of pop songs have greatly diversified. While some songs
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ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
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page 942
maintain national traditions, others imitate or directly incorporate foreign melodies and
soundscapes.
As a result of the active media promotion of these songs, the «melodic-rhythmic dictionary»
of our era (as B. Asafyev described it) has undergone significant transformation. This creates
a pressing need for scholarly reflection on the general direction of these new styles, including
the development of practical guidelines and deeper theoretical analysis. This is especially
important since melodic choices are closely tied to the centuries-old musical thinking of the
Uzbek people, rooted mainly in monodic traditions.
It must be noted that for many years, musical estrada as a scholarly subject remained largely
unexplored by Uzbek musicologists. Key aspects – such as its historical development,
classification, and terminology – were often overlooked. Scholarly interest only began to
grow in the final quarter of the 20th century, as reflected in S. Vakhidov's monograph Uzbek
Soviet Song, L. Yusupov's dissertation The Basic Stages of the Formation and Development
of Uzbek Musical Estrada, and other works by O. Bekov and S. Amanmuradova [5].
METHODS
This article employs descriptive, classificatory, historical-comparative, typological, and
complex analytical methods from contemporary art criticism. Musical samples were studied
using a systematic approach, with all sources evaluated through the lens of national
independence ideology. Foundational studies by both Uzbek (N. Yanov-Yanovskaya, S.
Vakhidov, L. Yusupov, O. Bekov, etc.) and CIS musicologists (G. Zabrodin, V. Simonenko,
A. Kozlov, V. Konen, etc.) provided the methodological framework [6].
RESULTS AND DISCUSSION
At first glance, the term estrada may seem inadequate to describe the full spectrum of the
music in question. Globally, terms such as «light music», «pop music», «mass music»,
«beat», «rock», and «everyday music” are used. Each reflects a different facet of the genre.
For instance, «light music» refers to works that are melodically simple and easily
remembered – features associated with entertainment. However, this can also apply to
compositions by well-known classical composers, including overtures, suites, and romances
that have become popular due to their accessibility.
Similarly, «pop music» often overlaps with traditional folk songs, and «mass music» is
considered broader than estrada. According to A. Sokhor in his article To Beat or Not to Beat,
terms like «pop», «beat», and «rock» have evolved, with «beat» originally serving as a
methodological concept in Soviet-era pop discourse. He also observes how the music
industry’s adaptability has allowed various «beat» subgenres to develop while sharing
common features.
Sokhor’s proposed replacement of the term «light music» with «mass music» includes a
functional classification:
Genres for mass concerts and show performances
Genres for everyday and ritualistic use
Popular entertainment genres
While useful at the time, Sokhor’s framework is grounded in Soviet ideology, which
sometimes limits its applicability to broader cultural contexts.
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«Beat» and «rock» highlight rhythm and stylistic intensity. Rock music, originating from
rhythm and blues, developed into «rock and roll» and further diversified. However, «rock»
cannot serve as a universal term, as it represents a specific musical style.
In The Third Layer: New Mass Genres in 20th-Century Music, V. Konen divides music into
three strata: folklore, professional composer school, and a «third layer» comprising mass
genres like jazz and rock. Konen suggests that this third layer emerged from the
democratization of music in medieval Europe and maintains characteristics such as
improvisation, entertainment focus, and accessible performance practices.
Nonetheless, applying this «third layer» model to the Uzbek context is debatable, as
Uzbekistan’s estrada music remains deeply connected to national musical heritage,
particularly folklore [12].
In Uzbekistan, the term estrada is broadly used to refer to stage music, encompassing singing,
instrumental, and variety performances. Derived from the French word for «stage», the term
has evolved. L. Yusupov and O. Bekov interpret it as a professional performance art form
that serves urban audiences.
Initially, estrada embraced various forms – from poetry to circus acts – and was characterized
by lively, simplified but emotionally effective performance styles. Over time, it began to
include traditional musical elements and even classical folk songs, blurring the boundaries
between estrada and more traditional art forms.
This inclusive approach risks conflating different genres and traditions, creating potential
confusion. While estrada performances share stage-based, entertaining qualities, they should
not be seen as equivalent to traditional Uzbek music.
CONCLUSION
In modern Uzbekistan, estrada refers not only to stage-based art forms but also to a distinct
musical direction. In its narrow sense, musical estrada encompasses genres unified by fast
rhythm, simple melodic structure, and stylistic accessibility. Thus, it represents a specific,
independent domain of music, distinct from both folk and academic traditions.
Given its defining characteristics – memorable melodies, emphasized rhythms, and
accessibility – it is advisable to use the term musical estrada for music that fits these criteria.
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мусиқа фестивалини ўтказиш тўғрисида Ўзбекистон Республикаси Вазирлар
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