A PEDAGOGICAL APPROACH TO GIJJAK INSTRUCTION FOR UNIVERSITY STUDENTS

Abstract

The gijjak, a bowed string instrument central to Uzbek traditional music, presents distinct pedagogical challenges at the university level. Students entering higher education in gijjak performance arrive with varying backgrounds, technical habits, and stylistic orientations, yet the institutional curriculum must prepare them for careers that increasingly demand versatility across solo, ensemble, orchestral, and contemporary contexts. This article examines the pedagogical principles and practical methods that shape effective gijjak instruction for university students. Drawing on the traditional ustoz-shogird model and its adaptation to formal conservatory education, the discussion addresses the identification of students’ stylistic inclinations, the sequenced development of bowing and fingering technique, the role of ornamentation in traditional performance, and the special competencies required for orchestral playing. Particular attention is given to the pedagogical significance of repertoire selection, the integration of maqom knowledge into technical training, and the psychological dimensions of motivating young adult performers. The article argues that a successful university gijjak pedagogy must be simultaneously conservative and adaptive, preserving the aesthetic values embedded in traditional performance while equipping students with the flexibility to function in the diverse professional environments they will encounter after graduation.