This short article refers to the circumstances of the first notation of the classical Uzbek-Tajik musical repertoire of the shash-maqam. Realised by V. A. Uspenskii according to the version of singer Jalal al-Din Nasirzada and tanbur player Ghiyath ‘Abd al-Ghanizada, and published in 1924 in Moscow, it constituted the basis for later notations by Beliaev. The author recalls the main points of Uspenskii and Beliaev’s respective contributions to the study of shash-maqam, especially on relationships between poetry and rhythm (usul). He also emphasises that, though Uspenskii did not provide the texts of the songs in his notation (which has further done by Beliaev in Tajik, then by Rajabi in Uzbek), his transcription remains till nowadays a reference work (particularly for the mushkilat section) for musicologists and musicians, and has permitted Uspenskii to introduce shash-maqam music to the Western musicological world.

Ariane Zevaco, School of Advanced Studies in Social Sciences, Paris
CER: II-1.2.A-19