TEACHING UZBEK NATIONAL VOCAL ARTS IN THE UNIVERSITY CLASSROOM

Abstract

The transmission of Uzbek national vocal arts within the institutional setting of the university presents a unique and critical field of pedagogical inquiry. This art form, encompassing the classical maqom tradition, diverse regional folk styles (xalq qo'shiqlari), and contemporary choral works, carries with it a complex epistemology rooted in oral transmission, master-apprentice relationships, and holistic cultural knowledge. Integrating this into the standardized, curriculum-driven, and time-bound structure of a modern university music department necessitates a deliberate and reflective pedagogical approach. This article examines the practical and philosophical challenges inherent in this educational translation. It argues that effective teaching in this context must transcend mere repertoire instruction to become a process of cultural mediation. The article explores strategies for structuring the classroom to honor the aural-oral core of the tradition while providing the analytical frameworks expected in higher education. Key areas of focus include methodologies for teaching microtonal modality, complex rhythmic cycles, ornamentation, and the intrinsic connection between poetry and melody. Furthermore, it addresses the role of technology, assessment, and the cultivation of student identity as both a technically proficient vocalist and a culturally informed practitioner. The ultimate aim is to propose a classroom paradigm that does not dilute the tradition but transforms the university into a viable and vibrant contemporary site for its sustained vitality.