The musical system of shomsmaqom ( which means "six maqom") can be considered as the theoretical and practical result of arranging and rules setting to the wide musical landscape of Uzbek music. The diversity of musical styles comes mainly from the different linguistic and cultural connotation of groups settled in regions such as Khorezm, Bukhara, Samarkand, Fergana or Surchandar'ya and reflects in different tunes and modes nowadays gathered inside shomsaqom. Concerning languages, Tajik cultural minority must be mentioned: they speak their own particular language, called Parsee, coming from ancient Persian language, and bring their own cultural and musical traditions. Moreover can be mentioned Jewish minority in Bukhara, or Tatar and Tartar descendence. It was not an easy enterprise gathering such a rich heritage in a well balanced rational system.

In the Sixties the Uzbek composer Junius Rajabi gave his best contribution to foundation of shomsmaqom system by creating an encyclopedical maqom collection, in 12 volumes. Each maqom represents a compositive cycle, a sort of "suite" made of vocal and instrumental tunes, up to 40 tunes each, connected by a common mode. The mode's range and the tunes character shows how each maqom's coming from a peculiar and well identified traditional source. The six maqom have been named as buzruk, rost, navo, dugokh, segokh, irokh; they are based on diatonic and eptatonic modes and show some appreciable relation with Persian dastgah system .

Folk and art songs, accompanied by string instruments, represent the most peculiar traditional heritage: among them you can find beautiul ghazals and katta asulla, where lyrics and voice play the main role . Professional singers follow the melody line, free to express personal feelings and skillness by creating grace-notes and ornaments. Khafiz, Bedil, Navoy, Jami are the poets mainly represented in ghazal lyric tradition.

Proper sections are dedicated in the website to instrumental music, mainly performed in traditional dances and festivals.