Dedication to Tagore by Mustafo Bafoev (on the problem of studying composer\u27s creativity in the context of monodial thinking)

This article focuses on the problem of understanding the Uzbek composer\u27s creativity of the last decades in the context of monodies (national) thinking. The traditional Uzbek monody, represented by such high genres of the intangible cultural heritage of mankind as Ashula, Biga Ashula, makoms, and modern composer\u27s creativity, are two self-developing areas carrying the idea of coexistence and interaction. Presenting a complex and poorly researched area of modern music science, monody is understood not as a type of warehouse (facture), but as a type of thinking, first systematized by the researcher S.P. Galitsa in the work Theoretical issues of monody . The purpose of this article is to identify specific features and characteristics of the composer language, which are formed under the influence of Uzbek traditional music. The article included a chamber-instrumental-cyclical compendium Dedicated to Tagora, an Uzbek composer, Mustafo Bafoyev, dedicated to the outstanding Indian writer, poet, artist, composer and social activist, Rabidranat Tagor. The article uses analytical, comparatively-typological and holistic methods of research. The result of this article is the understanding of the place and importance of composer Mustafo Bafoyev in the musical culture of Uzbekistan, the main trends of his creative work, and a holistic analysis of this work, which had not previously received its coverage from the point of view of the problem. At the end of the article, the author comes to conclusions that reveal the specific features of the composer\u27s musical language, M. Bafoyev, based on the principle of the commonality of two monodian musical cultures, Uzbek and Indian