Development trends in Uzbek dutor performance, pedagogical systematization, repertoire expansion, and national identity in a globalized context

Abstract

This article examines the principal development trends in Uzbek dutor performance over the past century, with a focus on the post-independence period. The dutor, a traditional two-stringed long-necked lute, has undergone a significant transformation from a predominantly folk instrument of oral transmission to a central pillar of Uzbekistan’s classical and contemporary musical identity. This study analyzes three interconnected trends: the systematization and formalization of pedagogy within state conservatories and the maqom tradition; the expansion of repertoire through composed works, orchestral integration, and virtuosic solo performance; and the negotiation of the instrument’s role between safeguarding intangible cultural heritage and engaging with globalized artistic dialogues. Drawing upon ethnomusicological theory, analysis of pedagogical materials, and performance practice, this article argues that the modernization of dutor performance has been a state-sponsored project aimed at constructing national identity, resulting in a dynamic and sometimes contested synthesis of traditional aesthetics with Western-derived conservatory models. The findings highlight a conscious movement from regional folk practice towards a codified national art form, ensuring the dutor’s vitality in the 21st century while presenting ongoing challenges regarding authenticity, innovation, and transmission.