O‘ZBEK SHOMON CHORLOVLARINI IJRO USLUBIGA KO‘RA TASNIFLASHGA DOIR
O‘tkir Aralov
Tamaddun nuri July 30, 2026 DOI: 10.69691/4tt2j170 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Key points | Argues that Uzbek shamanic invocations are syncretic folkloric phenomena fully realized in performance, and that their classification should account for performance style, ritual context, and communicative actions, as well as the presence or absence of musical accompaniment. |
Abstract
This article discusses the classification of Uzbek shamanic invocations based on their performance style, ritual context, and the communicative actions of the performer. It argues that a shamanic invocation should be understood not merely as a verbal text but as a syncretic folkloric phenomenon that is fully realized in the course of its performance. The study also examines the performance of shamanic invocations both with and without musical accompaniment and analyzes their functional and genre-specific characteristics.