On The Theoretical Foundations of Pop Art
Abstract
Alongside this, the article7 discusses the conditions under which Uzbek musical estrada has evolved into its own historical and cultural phenomenon, and why its essence remains so vague in scholarly studies. The pop music in Uzbekistan enjoyed rapid expansion in the latter half of the twentieth century and became a central part of public celebrations, media programming, and concert life, the field still remains conceptually splintered. Words like light music, mass music, beat, rock and common music are used for expressing the same thing but none of these terms reflects the fullness of this largely artistic reality. In order to cover this gap, the study builds on descriptive, historical comparative and typological approaches, examining both the literature and music samples. This method enables one to follow the gradual crystallization of estrada as a distinct performance style, rhythmic idiom, and function within contemporary Uzbek cultural practice. These results indicate that neither foreign categories or the Soviet-era notion of mass music can completely account for estrada. It evolved with proximity to the national musical traditions of Uzbekistan, which influenced its melodic roots and performance techniques. Thus, estrada, was popularised as a stand alone musical genre comprised of singable tunes, catchy rhythm, and showed performance.aaqaq222
References
Bekov O., Sovremennaya uzbekskaya estradnaya pesnya v kontekste muzykal’noy kul’tury Uzbekistana. Tashkent: SITi, 1994.
Bordyug N., “Features of the intonational process in modern Uzbek music,” Muzykal’nyy sovremennik, vol. 1, pp. 167–171, 1973.
Karomatov F., “Main features of the musical structure of Uzbek folk songs,” in Issues of the Musical Culture of Uzbekistan, Tashkent: Publishing House of Artistic Literature of the Uzbek SSR, 1961, pp. 62–63.
Konen V., The Third Layer: New Mass Genres in the Music of the Twentieth Century. Moscow: Muzyka, 1994.
Sokhor A., Questions of the Sociology and Aesthetics of Music. Leningrad: Soviet Composer, 1980.
Vakhidov S., Uzbek Soviet Song. Tashkent: G. Gulyam Literature Publishing House, 1976.
Yusupov L., The Main Stages of Formation and Development of Uzbek Pop Music (Candidate dissertation abstract). Moscow, 1990.
Amanmuradova S., Traditions of the Song and Pop Art of Egypt and Uzbekistan (on the example of the work of Umm Kulthum and Batyr Zakirov) (Candidate dissertation abstract). Tashkent: SITi, 1991.
Zabrodin G. and Aleksandrov B., Rock: Art or Disease? Moscow: Soviet Russia, 1990.
Mulladjanov D. M., “Tone in the sense of intonation as a fundamental concept in musicology,” (explanatory note in article).
Sokhor A., “Beat as a stressed rhythmic basis,” in Questions of the Sociology and Aesthetics of Music. Leningrad: Soviet Composer, 1980, p. 265.
Dyachkova L., Estradnaya muzyka i sovremennoye obshchestvo. Moscow: Muzyka, 1983.
Kholopov Y., Problemy muzykal’nogo myshleniya v massovykh zhanrakh. Moscow: Soviet Composer, 1985.
Moiseeva L., Intonatsionnyye protsessy v massovoy pesennoy kul’ture XX veka. Leningrad: Muzyka, 1991.
Akbarov U., Uzbekskaya estrada: istoriya, stil i evolyutsiya. Tashkent: Fan Publishing House, 1998.
Copyright (c) 2025 Mulladjanov Davlat Mavlanovich
This work is licensed under a Creative Commons Attribution 4.0 International License.
In submitting the manuscript to the Central Asian Journal of Innovations on Tourism Management and Finance, the authors certify that:
- They are authorized by their co-authors to enter into these arrangements.
- The work described has not been formally published before, except in the form of an abstract or as part of a published lecture, review, thesis, or overlay journal.
- That it is not under consideration for publication elsewhere,
- The publication has been approved by the author(s) and by responsible authorities – tacitly or explicitly – of the institutes where the work has been carried out.
- They secure the right to reproduce any material that has already been published or copyrighted elsewhere.
- They agree to the following license and copyright agreement.
License and Copyright Agreement
Authors who publish with Central Asian Journal of Innovations on Tourism Management and Finance agree to the following terms:
- Authors retain copyright and grant the Central Asian Journal of Innovations on Tourism Management and Finance right of first publication with the work simultaneously licensed under Creative Commons Attribution License (CC BY 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors can enter into separate, additional contractual arrangements for the non-exclusive distribution of the Central Asian Journal of Innovations on Tourism Management and Finance published version of the work (e.g., post it to an institutional repository or edit it in a book), with an acknowledgment of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) before and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
