Abstract
The fundamental theme to be addressed in this article is the relation between musical styles and cultural identities in Tajikistan. Specifically, I am interested in how changing practices and metaphors in Tajik musical history have engaged local and Russian, Western or other foreign cultures in a complex dynamic of representation of selfhood and otherness. Processes of assimilation, indigenization, appropriation and differentiation will be central to my examination. Initially, I will look at the ways in which Soviet and post-Soviet official ideologies have articulated discourses about musical tradition and the national self in Tajikistan. This serves as a backdrop against which developments in Tajik popular music over the last two decades may be assessed. The main focus will be then on discussing aesthetic, economic and identity issues in Tajik popular music in the context of contrasting centralized and decentralized social ideologies.
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