In the first half of the 20th century in Uzbekistan, Abdul Rauf Fitrad, member of the Jadid, was particularly interested in shashmaqam, the traditional music of the Court. In 1927, he wrote a book called Ozbek klasik Muzikasi va uning Tarikhi (Uzbek classical music and its history), in which he presented shashmaqam as a grand musical tradition of the Uzbek people. In the 1930s, during the Soviet regime of Joseph Stalin, Uzbek shashmaqom was seen as an echo of the feudal ruling class and as a kind of music that impinged cultural progress toward adoption of European-style harmony. Finally, in 1951, a decree from the president of the Uzbekistan Union of Composers, reaffirmed by the committee of Uzbekistan, suppressed the maqom and the development of the musical practice.

During the mid-50s, the maqam began an ideological rehabilitation. In Tajikistan, the local leadership decided that shashmaqom should form a part of the national traditional heritage. Tension between Tajikistan and Uzbekistan led to the differentiation between the Tajik shashmaqom as developed in Dushanbe, and the Uzbek shashmaqam as developed in Tashkent. Tajik books made no mention of Uzbek shashmaqam and vice versa.^{[citation needed]}

During the 1980s, this artificial division began to change. Uzbekistan began to learn about the Tajik shashmaqam, and Tajikistan learnt of the Uzbek shashmaqom. This has survived to the present, but a surge of nationalism in Uzbekistan may change that: singers on the radio in Bukhara, a city perfectly bilingual in Uzbek and Tajik, are using only the Uzbek texts in their shashmaqom music broadcasts.^[1]

This style of music was brought to the Western world, particularly to the United States, by the Bukharian Jews of Central Asia. Many of them were successful performers of Shasmaqom and brought it to the West.

• Klezmer
• Music of Tajikistan
• Music of Uzbekistan
• Lazgi

• Shashmaqam - performed by Bukharian Singers