Abstract

The problem of pluralism in the history of Uzbek music is controversial. This is not in vain. Oriental music has evolved over the centuries into a monodic core. Naturally, the emergence of new genres and forms has provoked protests from conservative thinkers in music culture. Opponents of the introduction of pluralism argue that the use of elements that are alien to Uzbek music is inappropriate. Such a policy of thinking is the result of underestimation and misunderstanding of the progressive significance of chauvinism. In this article, the author provides information about the history of polyphony in music culture, modern forms and methods of teaching polyphonic singing.