Abstract
This study explores the increasing interest in Uzbek music, focusing on the works of Soviet and post-Soviet Uzbek composers such as Georgy Mushel, Anatoliy Varelas and Akmal Safarov particularly their compositions for violin, piano, and chamber ensembles. Despite increased interest in Uzbek music in the United States, much of this repertoire remains underperformed and inaccessible. This dissertation examines the historical evolution of Uzbek music, tracing its development from the Soviet to post-Soviet eras, and analyzes its unique fusion of Western, Russian, and Central Asian elements, with a focus on traditions and sound production techniques. These works also incorporate influences from past conquests, such as those of the Arab Caliphate, Persia, and Turkey. While this music was traditionally improvisational and played on instruments like the ghijak and qobuz, modern composers sought to replicate these sounds on the violin.