https://claritaslumen.org/index.php/ercah <p>The European Review of Contemporary Arts and Humanities (ISSN 3117-3551) is a peer-reviewed platform dedicated to advancing scholarly dialogue and innovative research across the fields of music, theater, fine arts, literature, film, design, and cultural studies. It seeks to bring together diverse perspectives from academics, practitioners, and emerging voices, fostering critical reflection on both traditional and contemporary artistic practices. By exploring the intersections of creativity, cultural expression, and social transformation, the journal aims to highlight the role of the arts as a dynamic force in shaping identities, preserving heritage, and inspiring new forms of expression in a rapidly changing global context.</p> en-US European Review of Contemporary Arts and Humanities 3117-3551 https://claritaslumen.org/index.php/ercah/article/view/48 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. A.Talaboyev Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 3 6 https://claritaslumen.org/index.php/ercah/article/view/49 This article provides a deep scientific analysis of the use of agogic elements in the process of instrumental performance, their impact on the content of musical expression, aspects related to the personal interpretation and technical skill of the performer. The theoretical foundations of agogics, its interaction with expressive factors such as tempo, rhythm, dynamics, phrasing, pause, articulation are gradually covered. Also, scientific conclusions are drawn based on the methodology of teaching agogics to students and teachers, agogic interpretations on various types of instruments, and professional performance experience. Ahmadjon Yuldashev Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 7 10 https://claritaslumen.org/index.php/ercah/article/view/50 Juvenile Rheumatoid Arthritis, a term historically encompassing what is now more precisely classified under the umbrella of Juvenile Idiopathic Arthritis, stands as a profound clinical paradox. It presents not as a monolithic entity but as a spectrum of chronic inflammatory disorders unified by onset before the age of sixteen yet divided by starkly divergent clinical presentations, therapeutic responses, and long-term outcomes. This heterogeneity has long confounded clinicians and researchers alike. The central thesis of this article is that the varied and often unpredictable clinical landscape of juvenile rheumatoid arthritis is not a matter of chance but is fundamentally architected by the patient's unique immunogenetic constitution. The field of immunogenetics, which interrogates the complex interplay between genetic variants in immune system genes and disease manifestation, provides the most compelling explanatory framework for this diversity. From the number of joints involved to the presence of sight-threatening uveitis, from the pattern of fever to the risk of bony erosion, the clinical phenotype is a readout of an underlying genetic script. This manuscript will comprehensively explore how specific genetic markers, most notably within the human leukocyte antigen complex and extending to a growing array of non-HLA loci, serve as the primary determinants of disease susceptibility, subtype classification, and phenotypic severity. We will argue that understanding this immunogenetic blueprint is the cornerstone of evolving from a reactive, phenotype-based management model towards a proactive, pathophysiology-driven paradigm of personalized medicine in pediatric rheumatology. The clinical landscape is shaped by genetics; therefore, navigating it requires a genetic map. Abitdjan Nishanovich Fayziyev Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 11 16 https://claritaslumen.org/index.php/ercah/article/view/51 The contemporary landscape of information consumption presents a profound paradox for libraries and advocates of literacy. While access to text in digital forms is unprecedented, deep, sustained engagement with long-form narrative and complex informational texts - the very engagement that fosters critical thinking, empathy, and cognitive stamina - appears to be in a state of quiet crisis, particularly among youth and young adults. This article argues that the mission of the modern library must pivot from a paradigm of passive access provision to one of active engagement cultivation. The engaged reader is not merely a patron who checks out materials but an individual in a dynamic, reciprocal relationship with texts, with the library as a space, and with a community of fellow readers. Cultivating this engagement requires a deliberate, multifaceted strategy that intertwines collections, space design, programming, and the very philosophy of reader services. This paper explores the theoretical underpinnings of reader engagement, identifies key barriers in the digital attention economy, and proposes a framework for libraries to intentionally design ecosystems that nurture the engaged reader, thereby reaffirming their essential role in the development of thoughtful, literate citizens. Gullola Nuriddinova Scientific supervisor: Rashid Turgunbaev Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 17 24 https://claritaslumen.org/index.php/ercah/article/view/52 Uzbek folk music arts constitute a vast and intricate sonic tapestry, one that functions as a primary and dynamic medium for the expression, negotiation, and preservation of identity. This article posits that identity within the Uzbek context is not merely reflected in but is actively performed and patterned into existence through musical practice. The folk music tradition, encompassing the epic narratives of the baxshi, the lyrical songs of daily life and ritual, the instrumental repertoires of the dutar and tanbur, and the communal dance melodies, encodes a complex matrix of belonging. These sonic patterns articulate geographical origin, social structure, spiritual worldview, and historical consciousness. Through an analysis of performance practice, melodic mode (maqom and regional tune), lyrical content, and the social context of musical events, this paper explores how musical arts serve as audible maps of regional identity, as vessels for communal memory and ethical codes, as agents in life-cycle rituals, and as resilient markers of cultural continuity in the face of modernization. The argument is advanced that to understand Uzbek identity, one must learn to listen to its patterns - the rhythmic cycles that ground it, the melodic contours that give it shape, and the poetic verses that tell its story. Folk music is not an accompaniment to life; it is a fundamental thread in the very fabric of being Uzbek. G‘ofurjon Yunusov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 25 29 https://claritaslumen.org/index.php/ercah/article/view/53 Ancient weddings and folk performances not only played an important role in the development of instrumental music, but also served to pass down folk melodies from generation to generation. The article highlights the connection between Uzbek folk rituals and the art of musical performance. Fozilkhon Muydinov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 30 31 https://claritaslumen.org/index.php/ercah/article/view/54 In this scientific article, the issues of the harmony of folk applied art and modern art in ceramic works are analyzed from a scientific and theoretical point of view. It highlights the role of pottery in folk culture and national heritage, the harmony of traditional forms, patterns, and decorations with the principles of contemporary art. The influence of modern design, a conceptual approach, and innovative technologies on pottery art is also revealed. The article analyzes the artistic and aesthetic significance of pottery, the process of its transition from a practical object to a work of art, and its place in the system of art education. The research results show that the harmony of folk applied art and contemporary art is important in the development of national art and the formation of the aesthetic taste of the younger generation. Komoliddin Fakhriddin ugli Dominjonov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 32 35 https://claritaslumen.org/index.php/ercah/article/view/55 The traditional paradigm of undergraduate piano education has historically been dominated by the model of the solo performer, a specialist dedicated to the mastery of a vast canon of literature through intensive, solitary practice. While this development of individual artistry remains paramount, the professional landscape for which programs prepare their students has shifted profoundly. Contemporary pianists are far more likely to build careers through collaboration - as accompanists, chamber musicians, vocal coaches, and ensemble members - than as full-time soloists. This article argues for the systematic and curricular integration of collaborative skills training as a core, non-negotiable component of undergraduate piano education. It examines the distinct pedagogical needs of collaborative training, which extend beyond mere note-playing to encompass skills in listening, adaptation, non-verbal communication, score-reading, and genre-specific stylistic knowledge. Drawing upon established pedagogical theory and practical observation, the article explores the current gaps in many undergraduate programs, where collaborative work is often elective or ancillary. It then proposes a structured framework for embedding this training throughout the curriculum, from foundational musicianship courses to advanced performance projects. The intended outcome is a more comprehensively equipped graduate, one who possesses not only technical command but also the flexible, responsive, and empathetic musicianship required for a sustainable and diversified professional life in music. Muminjon Muminov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 36 41 https://claritaslumen.org/index.php/ercah/article/view/56 This article analyzes the pedagogical possibilities of computer design technologies in the development of aesthetic thinking in schoolchildren. In the research process, the essence of the concept of aesthetic thinking, its place in the educational process, and the influence of computer design tools on aesthetic perception and creative thinking are highlighted. Also, the importance of practical classes organized on the basis of computer design in the development of visual literacy, artistic taste, and creative activity of students is revealed. The research results indicate the need to introduce computer design technologies as a means of effective organization of aesthetic education in general education schools. Azizbek Khasanboy ugli Boltaboev Marguba Khasanboevna Khaydarova Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 42 44 https://claritaslumen.org/index.php/ercah/article/view/57 In this article, the essence of the concept of aesthetic thinking in fine arts education and its pedagogical significance are analyzed from a scientific and theoretical point of view. The study highlights the role of aesthetic thinking in the development of personality, the features of its formation in the process of fine arts classes, as well as the possibilities of developing students’ artistic taste, creative thinking, and aesthetic perception. The importance of pedagogical approaches and methods that serve the development of aesthetic thinking in fine arts lessons is also substantiated. The results of the article show that the development of aesthetic thinking is an important factor in increasing the effectiveness of the educational process. Marguba Khasanboevna Khaydarova Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 45 47 https://claritaslumen.org/index.php/ercah/article/view/58 The integration of the Uzbek dutar, a pillar of Central Asian musical heritage, into formal higher education curricula represents a critical site of cultural negotiation. This article examines the pedagogical journey required to move students from the acquisition of instrumental technique to a profound, internalized understanding of the musical tradition it embodies. It argues that a dutar program within a university or conservatory setting must consciously bridge the methodological gap between standardized, technical instruction and the holistic, mentorship-based transmission of the ustoz-shogird model. The analysis identifies a persistent risk: producing technically proficient players who lack the deeper cultural, aesthetic, and improvisational competencies that define authentic artistry within the maqom tradition. To address this, the article proposes a tripartite pedagogical framework. First, it advocates for a technique curriculum derived directly from the demands of the repertoire, ensuring that skills are never abstract. Second, it emphasizes the essential integration of theoretical knowledge - specifically maqomshunoslik and usul - with performance practice from the earliest stages. Finally, and most critically, it explores methods for cultivating traditional artistic decision-making, guiding students from the accurate reproduction of notated music toward the development of their own informed voice within the strict parameters of the tradition. The study concludes that success in higher education hinges on creating a simulated ustoz-shogird ecosystem within the institution, one that values cultural immersion, aural learning, and artistic mentorship alongside formal assessment, thereby ensuring the graduation of true cultural bearers rather than merely skilled instrumentalists. Maribjon Sodiqov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 48 52 https://claritaslumen.org/index.php/ercah/article/view/59 This article explores the profound symbiosis between the sonic character of the Uzbek dutar and the conceptual frameworks that define Uzbek musical and poetic aesthetics. It posits that the dutar is not merely an instrument for producing melody but is itself a central metaphor - a sounding object of thought - within Uzbek cultural philosophy. The analysis moves beyond organological description to investigate how the instrument’s physical and acoustic properties - its fretless neck, its pair of melody strings, its chorus of sympathetic strings, and its warm, vocal timbre - directly shape and express core concepts in maqom theory, poetry, and spiritual practice. The argument is structured in three interrelated domains. First, it examines how the dutar’s fretlessness facilitates the realization of maqom as a fluid, affective landscape of pitch, making the instrument a primary tool for conceptualizing modal nuance. Second, it analyzes the instrument as a metaphorical “voice,” arguing that its technique and repertoire are designed to emulate and converse with the human voice, thus blurring the line between instrumental and vocal expression in the performance of classical poetry. Finally, the article considers the dutar’s dual-stringed nature and resonant body as metaphors for dialogue, companionship, and cosmic harmony, reflecting deeper cultural values of balance and interconnectedness. This study concludes that in Uzbek musical thought, the dutar is both a tool for making music and a material articulation of the very principles that make that music meaningful, serving as an essential key to understanding the interrelation of sound, sentiment, and cosmology in Central Asian culture. Robiyaxon Obidova Muxtasarxon Ismoilova Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 53 57 https://claritaslumen.org/index.php/ercah/article/view/60 This article examines hand motor skills and neuromuscular mechanisms in musical performance through the example of dutor playing, a traditional Uzbek plucked string instrument. Particular attention is given to the functional differentiation of the left and right hands, motor planning, muscle memory, and sensorimotor integration. The article highlights the pedagogical value of understanding neuromuscular mechanisms for improving performance efficiency, preventing muscular fatigue, and enhancing expressive musical interpretation. Mukhtasar Ismailova Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 58 62 https://claritaslumen.org/index.php/ercah/article/view/61 Within the rich tradition of Uzbek music, the concept of a solo performance is a profound artistic illusion. This article argues that the soloist - whether a hofiz in the classical maqom or a virtuosic instrumentalist - does not act in isolation but is the focal point of a deeply integrated collective intelligence. The ensemble, far from being mere accompaniment, functions as the indispensable ecosystem for the solo act. It provides the structural foundation through rhythmic cycles (usul) and modal frameworks, engages in active, responsive dialogue (hamdami), and serves as the living repository of oral tradition that pedagogically shapes the soloist. Furthermore, the ensemble constructs the spiritual and emotional atmosphere (kayfiyat) necessary for transcendent performance. By examining classical, folk, and contemporary contexts, this paper illuminates the symbiotic relationship where the soloist and ensemble are co-creators of the musical narrative. The solo performance is thus redefined not as an individual feat, but as the most concentrated and dynamic expression of a collective musical consciousness. Nasimxon Madaminov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 63 66 https://claritaslumen.org/index.php/ercah/article/view/62 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. Nigora Ibrokhimovna Egamberdieva Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 67 70 https://claritaslumen.org/index.php/ercah/article/view/63 This study addresses the urgent pedagogical challenge of fostering ethical-moral competencies in students within the modern educational landscape. Recognizing the profound spiritual and axiological potential embedded within cultural heritage, the research proposes a systematic model for utilizing national music as a primary tool for moral development in general secondary education. The theoretical foundation integrates a systemic, person-centered, and activity-based approach. The constructed model is conceptualized as a complex pedagogical system comprising five interconnected structural blocks: target, theoretical-methodological, content-organizational, procedural-technological, and effective-resultative. The target block aligns with national educational strategies and social mandates, defining core tasks such as fostering knowledge of national music, developing spiritual-ethical values, and cultivating creative self-expression. The methodological core rests on the principles of systemicity, emotionality, complexity, coherence, subjectivity, and axiological orientation. The model emphasizes the transition from subject-object to subject-subject relations in the pedagogical process, positioning the student as an active agent in their own moral formation. This theoretical elaboration provides a structured framework for subsequent empirical testing and practical implementation, aiming to enrich the moral education of students through the authentic and resonant medium of their national musical tradition. Toshtemirt Xalilov Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0 2026-01-05 2026-01-05 2 1 71 75