TEACHING MAQOM PRINCIPLES THROUGH THE UZBEK DUTAR REPERTOIRE

Abstract

This article explores the pedagogical methodology of utilizing the traditional Uzbek dutar repertoire as a primary vehicle for imparting the complex theoretical and aesthetic principles of the maqom system. Moving beyond technical instruction, it argues that the instrument’s physical and sonic architecture inherently embodies maqom logic, facilitating a holistic learning process where abstract concepts become tactile and audible experiences. The discussion traces a pedagogical pathway from foundational folk melodies, which introduce core modal concepts like maye (tonic) and microtonal inflection, to advanced classical pieces from the Shashmaqom canon, which teach structural principles of movara (development), usul (rhythmic cycles), and poetic-melodic integration. By examining how the repertoire sequentially scaffolds understanding - from modal feeling and ornamental grammar to the navigation of full suite structures - the article posits that the dutar serves as an essential cultural intermediary. This approach cultivates not merely a proficient instrumentalist, but a san’atkor (artist) who internalizes maqom as a living system of emotional expression and spiritual discourse, thereby ensuring the authentic transmission of Uzbekistan’s intangible cultural heritage.