American Journal Of Social Sciences And Humanity Research
55
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VOLUME
Vol.05 Issue04 2025
PAGE NO.
55-58
10.37547/ajsshr/Volume05Issue04-11
The Role of Folk Instruments in The Lives of People in
Ancient Times
Jamshid Radjabov
Uzbekistan State Conservatory, Lecturer of the Department of Music Pedagogy, Uzbekistan
Received:
12 February 2025;
Accepted:
13 March 2025;
Published:
10 April 2025
Abstract:
This article investigates the cultural and social significance of folk musical instruments in ancient human
societies. It examines how traditional instruments were used not only for entertainment but also in rituals,
religious ceremonies, communication, and everyday life. Drawing on archaeological findings and historical
records, the study highlights the symbolic meanings attributed to various instruments and their role in expressing
communal identity and spiritual beliefs. The article also emphasizes how music, through folk instruments, served
as a means of preserving oral history and transmitting cultural values across generations.
Keywords:
Music Pedagogy, Rubab Performance, Teaching Methods, Music Education, Student Development,
Individual Approach, Music Composition, Performance Skills, Creative Process, Educational Institutions, Teacher-
Student Interaction, Performance Repertoire.
Introduction:
As future specialists and educators, we
must master the performance techniques and styles,
methods of education and training, and suitable
repertoires for each class starting from the initial
stages. This is essential and required by modern times.
Based on this, the importance of mastering
performance techniques, sound production culture,
and all aspects related to musicianship in folk
instruments is evident. Each instrument has its own
form and characteristics. The cultural heritage,
traditions, love, and human virtues passed down from
generation to generation of the Uzbek people continue
to serve as a necessary spiritual guide, playing a
significant role in the upbringing of a harmonious
generation in today’s world.
Instruments vary in their performance techniques and
styles, and thus the development of a musician’s skill
(technique) is based on the movements of the hands
and fingers, which are dependent on the shoulders,
div, feet, and hand motions. However, not all
instruments require the same focus
—
such as in the
case of the chang, where finger dexterity is not a
priority. On the other hand, drum performance
requires a different kind of hand motion. For
instruments like those with a plectrum, the left hand’s
movement is horizontal, while for stringed instruments
with a bow, the motion is vertical. Thus, it is important
to consider the specific nature and details of each
instrument when analyzing the formation of
performance movements.
Another issue is that some teachers of folk instruments
focus mainly on the student’s musical development but
do not pay enough attention to the development of
performance movements. Movement freedom is not
only about mastering performance techniques but also
includes the culture of producing quality sound. This, in
turn, leads to the creation of a unique performance
style.
Many folk music textbooks and educational manuals
focus on shaping necessary performance movements
and posture, with both practical recommendations and
theoretical instructions. Teachers of folk instruments
creatively utilize materials written for other types of
instruments, such as European instruments like the
violin, cello, flute, horn, balalaika, domra, etc. This
approach is certainly beneficial as it helps reveal the
unique qualities of folk instrument performers and
improve their technical skills.
Currently, the primary goal of music pedagogy is to
train highly qualified performers and musicians who
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
popularize
music
culture.
Famous
composer,
ethnographer, and educator V.A. Uspensky left a
significant impact on the collection and study of folk
instruments. In 1919, thanks to his efforts, a music-
ethnographic department was opened in Tashkent,
which he led. One of the main tasks of this department
was the collection of folk instruments and the study of
their performance possibilities.
The contributions of V.M. Belyaev, a renowned
folklorist, musicologist, and educator, are also highly
significant in the history of Uzbek music studies. His
research on folk instruments, their classification, and
their development sparked great interest. In 1933,
V.M. Belyaev published the book "Musical Instruments
of Uzbekistan", which contains descriptions of more
than 50 instruments, with the first scientific
classification of Uzbek folk instruments.
Research on teaching folk instrument performance was
conducted by F.M. Karomatov, while A.I. Petrosyan
worked on the repair and modernization of these
instruments. In his book "Instrumentology", A.I.
Petrosyan scientifically substantiated the main groups
of folk instruments and provided practical advice on
their use.
For many years, educational methodologies have been
developed, and as a result of the repair and
improvement of folk instruments, new techniques for
sound production and performance skills have
emerged. The transition from ear-based performance
to performance using notation led to the development
of school programs and performance practices for folk
instruments.
In recent years, the professors and teachers of the "Folk
Instruments" department at the Uzbekistan State
Conservatory have published a number of fundamental
textbooks, teaching manuals, and collections. Folk
instrument schools have emerged, and instructional
manuals for creating and working with folk orchestras
have been written. Thus, the foundations for music
education in the field of folk instruments have been
established.
We need to be prepared to engage in activities at
various educational institutions in our field.
Successfully operating at general education schools,
BMSMs (Basic Music Schools), and secondary
specialized educational institutions carries great
responsibility. Therefore, it is crucial for us to be aware
of
all
the
pedagogical,
psychological,
and
methodological scientific works related to these
educational institutions. Thanks to the independence,
our musical art has reached new heights over the past
years. Collaborative ties with global music cultures
have been re-established.
The Kashgar rubab section is one of the departments
with the highest number of students and learners in the
current music education system. Therefore, both the
performance of the Kashgar rubab and the practice of
teaching it hold significant importance due to the wide
scope of its activities, the variety of performance
programs, and their varying levels of complexity. From
this perspective, in order to improve the students'
performance skills and broaden their repertoire, works
by Uzbek composers written specifically for the Kashgar
rubab and orchestra, such as “Concerto,” “Concerto
Poem,” and “Fantasy,” as well as large
-scale pieces,
have been included in the curriculum. The selected
works possess national characteristics, are specifically
written for the r
ubab, and are arranged from “simple
to complex.”
The process of mastering these works is briefly
discussed in the section titled "Analysis and
Interpretation of Musical Works."
Music pedagogy is the most human, noble, and
simultaneously complex human activity. Teaching is a
creative profession. The communication between the
teacher and the student is the most beautiful form of
communication between people. As Neygauz said: "If I
gave something to my students, they, in turn, gave me
even more. I am extremely grateful to them for this,
because our common striving for knowledge and
learning helped lay the foundation of our friendship
and taught us closeness and respect for one another,
and these feelings are the highest of all emotions one
can experience in the world."
Music teachers must be individuals who have a natural
aptitude for this profession. Moreover, teaching
demands high ethical qualities from a person. In this
regard, teaching can be compared to the profession of
a doctor.
A teacher must always speak the truth to the student.
Teaching is an ongoing creative process. The
complexity of this profession lies in the fact that its
results only become visible after some time. The
profession
requires
profound
and
extensive
knowledge. Therefore, the task of educating young
people has always been entrusted to the most
intelligent and knowledgeable individuals.
A good teacher must, first and foremost, be a master
performer on their instrument. However, it must also
be acknowledged that a good performer does not
necessarily mean a good teacher, and an average
performer is not necessarily a bad teacher. This is a
natural occurrence that often arises in teaching
experience.
A class under the leadership of a talented teacher is a
creative laboratory, a creative workshop. Alongside
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
imparting knowledge to students, the teacher also
learns and researches. As a result, the teacher acquires
a broader knowledge base than a musician focused
solely on performance. At the same time, the
importance of performance should not be diminished.
A teacher who continues to perform constantly grows,
seeking new ways to improve their artistic and
technical mastery, which positively impacts their
teaching activities.
Furthermore, a teacher must possess pedagogical, that
is, didactic qualities, and be able to impart their
knowledge to students. The teacher must have a broad
pedagogical knowledge base and master modern
teaching methods. A teacher should be not only a good
musician but also a person with a wide worldview,
knowledgeable about literature, art, and other forms of
art. They should set an example for their students
through qualities such as honesty, wit, integrity,
principle, strong will, and organizational skills.
In addition to these qualities, the teacher must be able
to recognize and nurture the individuality of the
student. Practical experience shows that in a single
class, no two students are alike. Each student must be
approached individually, taking into account their
natural
abilities,
anatomical-physiological
and
psychological features, and musical talent. Based on
this, it is impossible to develop a single approach to
shaping the performance apparatus of students.
The mental and nervous functions of students vary.
Experienced teachers strive to understand their
students thoroughly and try to adapt their approach
accordingly.
The external form of individual approach is the
cultivation of creative individuality in the student. It is
clear that students in the same class will differ from
each other. The teacher must recognize this early on,
correctly develop their potential, and assist in revealing
their individuality.
As is well known, music performance lessons are
conducted in an individualized format. The teacher
interacts with each student during lessons,
systematically
monitoring
their
development,
assessing the results of their learning, and managing
the process. Various forms of music performance
lessons exist, one of the most common being a three-
part generalized form, which includes: a) checking the
student's independent work; b) identifying and
correcting deficiencies in the student's work while
teaching new knowledge; c) clarifying the next task.
Some teachers do not place enough importance on the
first part of the lesson, which is incorrect. This part
connects the homework with the classwork, creating a
unified process. Checking allows the teacher to manage
the student's independent activity, stimulate their
performance skills, and contribute to the formation of
professional qualities. Continuous assessment and
evaluation of performance encourage systematic work
and help strengthen the student's mastery.
The second part of the lesson is the central one in terms
of duration and importance. The teacher analyzes the
student's performance thoroughly, identifies flaws, and
looks for ways to eliminate them. The teacher must first
focus the student's attention on the most important,
core issues. Secondary flaws should be addressed in
subsequent lessons. Alongside the flaws, the teacher
should also point out the student’s success
es.
In this section, the teacher not only provides the
student with new information but also shapes new
performance skills, improving and reinforcing the old
ones. The lesson should not only provide the student
with certain information but also set specific tasks for
them. The student must compare, analyze, and
generalize the knowledge acquired. As a result, the
student should be able to develop their own
understanding.
A lesson conducted skillfully must conclude well. The
third part of the lesson is devoted to summarizing
previous exercises and identifying new exercises. These
tasks should be appropriate for the student's
capabilities and should gradually increase in
complexity. In some cases, it may be useful to review
certain elements of the homework.
However, this method should not restrict the teacher
to a rigid template. Lessons must evolve, becoming
more creative. Some teachers divide their lessons into
technical and artistic ones. The former is dedicated to
learning the material, while the latter focuses on
working on artistic pieces. As a result, the teacher and
student focus on various performance issues, such as
intonation, rhythm, sound culture, and articulation.
Many teachers also use a "monodidactic" lesson
format, which is dedicated to solving a specific task. A
good example is a review lesson conducted before an
exam.
The content and form of the lesson can vary depending
on the student's individuality, age, and the proximity of
the exam.
It is evident that the methods of teaching in music
schools, academic lyceums, and conservatories differ
significantly. The methods for organizing and
conducting lessons are individual to each teacher. In
this process, the limitless striving for excellence in
music pedagogy is reflected.
Lesson time is limited. To make the most of it, the
teacher must prepare in advance by studying the
American Journal Of Social Sciences And Humanity Research
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
curriculum, artistic and musical materials, and
educational literature. The teacher must also create
plans for individual work. These plans should cover all
the work the student is expected to do during the
semester.
For example:
1.
Meeting the requirements of the curriculum.
2.
Taking
into
account
the
individual
characteristics of the student.
3.
Ensuring gradual growth in the level of
complexity.
4.
Considering the artistic qualities, structure, and
characteristics of the pieces being studied.
5.
Ensuring the harmonious development of all
aspects of performance skills.
6.
Taking into account the student's interests and
desires.
When developing a plan, the teacher must visualize the
student's place within the overall educational process,
define their goals, and establish connections with other
lessons. The content of the lesson, its form of
organization, and the teaching methods must be clearly
defined. The student should study the given musical
work independently, familiarizing themselves with all
relevant information. Simultaneously, the teacher must
plan the student's homework in advance.
The teacher's artistic and creative activity requires
constant research. A talented teacher does not just
teach but also learns during the process. In this way,
the teacher's personal teaching style and skills are
formed. The teacher employs various teaching
methods during the lesson, such as oral explanation,
performance of the piece, vocalizing its melody,
conducting, etc.
Among these methods, conducting is particularly
effective. Conducting attracts the students' attention
due to its emotional appeal and ability to engage them.
The advantage of this method is that it allows the
teacher to influence the student during performance
without stopping or interrupting them. Some teachers
combine conducting with singing, which is even more
beneficial.
Another method with a strong impact is the teacher's
own performance. However, when using this method,
the student should not merely copy the teacher's
performance. Instead, this method should help the
student understand and internalize the performance
more efficiently.
Nevertheless, the most widely used and simple
method, yet highly effective, is verbal explanation. A
teacher who masters this method can teach even the
most complex ideas and concepts. Through verbal
explanation, the teacher can reveal the meaning of the
piece, the principles of music performance, the
technical aspects of performance, and the student's
shortcomings.
Moreover, attention must be paid to the emotional
engagement of the performer. By focusing not only on
technical tools but also on emotional tone, greater
achievements can be reached. Through creating an
emotional atmosphere in the classroom, the teacher
can inspire students, helping them to fall in love with
their profession.
Alongside individual lessons, group lessons also hold
great significance. In this setting, students can listen to
the performances of their peers, recall the teacher’s
advice, and collaborate on pieces, exchanging ideas and
reflections.
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