PHILOSOPHICAL FOUNDATIONS OF SOUND PRODUCTION IN CLASSICAL UZBEK VOCAL THEORY

Abstract

This article explores the philosophical underpinnings of sound production in classical Uzbek vocal theory, as preserved in the maqom tradition and its associated treatises. Moving beyond Western pedagogical frameworks that prioritize anatomical mechanics, the study reveals an integrated worldview in which vocal sound production is understood through the lenses of Sufi cosmology, Neoplatonic harmony, Galenic medicine, and Islamic ethics. Central concepts examined include “insan-i kamil” (the perfect human being) as the ideal singer, “nafas” as divine breath, “tasir” as the ethical and therapeutic effect of sound on the listener, “ittidal” as cosmic moderation applied to vocal balance, and the status of the human voice as “sawt-i mukhalaq” - created sound that manifests divine speech. The article argues that for the classical Uzbek xonanda, sound production is never a merely physical act but a spiritual discipline, a cosmic alignment, and an ethical responsibility. The philosophical foundations discussed offer a corrective to purely technical approaches to vocal pedagogy and reveal the depth of Central Asian musical thought.