National identity in the Piano works of Uzbek Composers

This article explores the expression of national identity in the piano compositions of Uzbek composers from the 20th century to the present day. Drawing upon musical analysis, historical context, and stylistic interpretation, it highlights how Uzbek composers have synthesized traditional musical elements with Western classical forms. Uzbek classical music, rooted in centuries-old traditions such as shashmaqom and maqom, has found unique expression in modern compositional forms, especially in piano music. Since the early 20th century, Uzbek composers have sought to develop a national style by merging indigenous musical idioms with Western classical techniques. This article investigates how Uzbek composers have embedded national identity in their piano works. It explores the transformation of traditional musical aesthetics into pianistic language, examines selected compositions that exemplify this synthesis, and discusses the pedagogical and cultural implications of this body of work. This article examines the stylistic and conceptual developments that define the current landscape of Uzbek piano composition. It explores how composers such as Nodirbek Makharov, Victor Khandamian, Kakhramon Gulomjonov, and emerging young artists reinterpret national motifs and engage with global trends.