On The Theoretical Foundations of Pop Art

Alongside this, the article7 discusses the conditions under which Uzbek musical estrada has evolved into its own historical and cultural phenomenon, and why its essence remains so vague in scholarly studies. The pop music in Uzbekistan enjoyed rapid expansion in the latter half of the twentieth century and became a central part of public celebrations, media programming, and concert life, the field still remains conceptually splintered. Words like light music, mass music, beat, rock and common music are used for expressing the same thing but none of these terms reflects the fullness of this largely artistic reality. In order to cover this gap, the study builds on descriptive, historical comparative and typological approaches, examining both the literature and music samples. This method enables one to follow the gradual crystallization of estrada as a distinct performance style, rhythmic idiom, and function within contemporary Uzbek cultural practice. These results indicate that neither foreign categories or the Soviet-era notion of mass music can completely account for estrada. It evolved with proximity to the national musical traditions of Uzbekistan, which influenced its melodic roots and performance techniques. Thus, estrada, was popularised as a stand alone musical genre comprised of singable tunes, catchy rhythm, and showed performance.