Abstract
The article considers one of the poorly investigated problems of musicology - the Tajik instrumental culture. Relying on works of the leading specialists in the study of instruments and on their own researches, the authors examine the practice of group playing the Tajik national instruments, from traditional unisonous performance to electronic subculture. The paper focuses on comparing the score of the Tajik folk instruments orchestra with the scores of other academic orchestras. At the turn of the XX-XXI centuries, there appeared a tendency for division of big orchestras into smaller ensembles using musical computer technologies.
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