CONTEMPORARY METHODS FOR TEACHING CLASSICAL UZBEK VOCAL REPERTOIRE

Abstract

The preservation and transmission of Classical Uzbek vocal repertoire, a cornerstone of Central Asian intangible cultural heritage centered on the Shashmaqom and regional maqom traditions, face significant pedagogical challenges in modern higher education. The historical master-apprentice system, while profound, often struggles to meet the standardized, curriculum-driven, and time-bound constraints of university music departments. This article examines the development and application of contemporary teaching methodologies designed to bridge this gap. It argues for a synthesized pedagogical model that integrates essential elements of traditional oral transmission with structured, analytical, and technology-enhanced approaches. Drawing upon ethnomusicological theory and practice-based research, the article analyzes specific techniques for teaching microtonal intonation, complex rhythmic cycles, ornamentation (naqshlar), and the profound poetic-melodic connection. Furthermore, it explores the role of digital archives, acoustic analysis software, and comparative listening in supplementing direct oral transmission. The article concludes that such a multifaceted approach not only ensures more effective skill acquisition and theoretical understanding for students but also fosters a deeper, more resilient engagement with the spiritual and aesthetic dimensions of Classical Uzbek vocal art, thereby securing its vitality for future generations.