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PEDAGOGICAL CONSIDERATIONS FOR DEVELOPING KNOWLEDGE
OF THE HISTORY OF UZBEK MUSIC AMONG FUTURE MUSIC
TEACHERS
Mirzaaxmedova Yulduz Jamshid qizi
Fargʻona davlat universiteti tadqiqotchisi
Orcid ID: 0009-0004-6534-7491
https://doi.org/10.5281/zenodo.15623293
Abstract:
The article studies the theoretical and methodological
foundations of developing knowledge about the history of Uzbek music among
future music teachers, the parameters of developing knowledge about the
history of Uzbek music among future music teachers, the effectiveness of
developing knowledge about the history of Uzbek music among future music
teachers. Also, the pedagogical implications of developing knowledge about the
history of Uzbek music among future music teachers are analyzed.
Key words:
music, history of Uzbek music, music education, technology,
competence, improvement, pedagogical, technological, model, didactic, form,
method, tool, evaluation, creative thinking, reflexivity, creativity, preservation of
national musical heritage, formation of musical culture.
Introduction
In order to develop knowledge about the history of Uzbek music among
future music education teachers, it is essential to first cultivate an axiological
need for national musical heritage. This involves fostering their understanding
of national identity, influencing their value perception, and enhancing the
cognitive pedagogical processes aimed at this goal. Generally, in every
individual’s life, needs and abilities are inherently interrelated. Just like the need
of the subject of cognitive activity, their abilities also possess not only a
physiological but also a social character. Indeed, these abilities are formed,
transformed, and developed throughout the process of social life. Therefore, the
subject of axiological activity includes not only a person's axiological
consciousness but also their understanding and perspectives related to fulfilling
their value-based needs. Since the aim of axiological activity is to meet human
needs, a person becomes not only the subject but also the object of this activity.
Consequently, the learner perceives the values related to the national musical
heritage as an object and satisfies their needs through this process.
Literature review and methods
Issues such as the preservation of national musical heritage, the formation
of musical culture, the development of axiological attitudes towards the diverse
and meaningful musical traditions of different nations and ethnic groups, and
the advancement of scientific and organizational projects related to the
conservation of national musical heritage have been studied by scholars such as
D. Karomatli, T. Levin, E. Abdulin, Ye. Bodina, O. Bochkareva, E. Burzina, N.
Ivanov, S. Bulatov, B. Azimov, S. Annamuratova, O. Vasilchenko, Sh. Janaydarov,
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F. Juraev, D. Kamolova, H. Nurmatov, F. Khalilov, R. Abdullaev, S. Begmatov, T.
Vizgo, O. Ibrohimov, F. Karomatov, I. Rajabov, T. G‘ofurbekov, and A. Hasanov.
Results and discussion
In order to foster knowledge of the history of Uzbek music in future music
education teachers, it is crucial to guide their interests and needs in this
direction. Therefore, in the process of delivering music education, it is important
to consistently cultivate and nurture students' musical interests and needs.
Furthermore, one distinctive feature in students' acquisition of national musical
heritage is the development of sustained attention. Concentrating the mind on a
specific point and actively directing it towards particular objects or phenomena
is known as attention. Attention plays a vital role in all human activities; even
the simplest or most complex tasks cannot be performed without its
involvement. Hence, attention holds a significant place in human life and must
be emphasized in the context of cognitive processes. Attention always
participates in perception, memory, imagination, and thinking. In this sense,
attention is the constant companion of all reflection processes. Although
attention is involved in all psychological processes, it alone cannot reflect
anything without the involvement of other mental faculties.
Speech or pronunciation also plays a significant role in the success of
musical activities among future music education teachers. The effectiveness and
emotional appeal of song lyrics largely depend on the clarity and quality of
pronunciation or diction. Likewise, proper vocal performance requires
specialized skills in tone control, musical expression, vocal direction, and many
other competencies. Memory, which is composed of several interrelated
processes, plays an important role in these musical activities. These processes
include:
a) encoding (memorizing),
b) retention (storing information),
c) retrieval (recalling), and
d) forgetting.
All of these processes together constitute memory and are interconnected
in any kind of activity.
In order to enhance future music educators' understanding of the history of
Uzbek music, it is necessary to first foster axiological needs toward national
musical heritage. This implies enabling students to grasp and internalize the
importance of national values while refining cognitive pedagogical activities
targeted at this process. Fundamentally, human needs and abilities are
intrinsically linked. Just like needs, abilities are not solely physiological but also
deeply social in nature. They evolve and develop within the context of social life.
Hence, the axiological activity of an individual includes both the development of
value consciousness and the formation of perceptions and beliefs tied to
satisfying these needs. Since the goal of axiological activity is to fulfill human
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needs, the individual becomes both the subject and object of such activity.
Accordingly, students perceive the values of national musical heritage as an
object and strive to meet their needs through it.
Stimulating interest and need among future music educators in learning
about the history of Uzbek music is of vital importance. During music lessons,
students must be constantly guided and encouraged to form and cultivate their
musical interests and needs. One distinctive feature of students’ assimilation of
national musical heritage is the development of sustained attention. Attention,
which refers to the active focus of the mind on specific objects or phenomena, is
essential in all human activities—from the simplest to the most complex. It plays
a crucial role in cognitive processes such as perception, memory, imagination,
and thinking.
Articulation and diction are also fundamental for effective musical
performance. Clear pronunciation significantly influences the emotional and
aesthetic power of song lyrics. In addition, technical skills—such as voice
control, expressive means, and the ability to direct sound—are critical for
effective musical expression. Musical memory, which includes processes like
encoding, storage, retrieval, and forgetting, also plays a central role in music
learning and performance.
Music listening is one of the most responsible and engaging aspects of a
music lesson. Its effectiveness depends heavily on the teacher’s professionalism
and dedication. Music listening enables students to identify and analyze the
piece, compare it with previously heard music, and understand expressive
means or performers. Without developed musical memory, such cognitive tasks
would be nearly impossible.
The music lesson remains the central form of organizing music education in
schools, even though optional activities and music clubs also exist. Lessons
encompass various activities—singing, rhythmic movement, and listening—that
complement and enrich each other. To fully grasp and internalize songs or music
pieces, multiple lessons may be necessary. Typically, new parts of previously
learned songs are introduced in each class, and earlier material is reviewed to
reinforce learning.
Since music is the language of emotions, music lessons require a particular
emotional environment. They evoke excitement and emotional responses,
helping to form lasting impressions. Capturing students’ attention and directing
it toward the music being played enhances their imaginative thinking and
deepens their understanding of musical imagery.
Despite general similarities, each lesson is unique due to its artistic and
educational objectives. To ensure effective learning, the lesson’s goals, structure,
and methods must be carefully planned. Teachers must also consider students’
age and musical preparedness when selecting materials. Songs used in class
should vary in character, mood, and rhythm, and lesson activities should be
sequenced logically to maintain lesson coherence.
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Teachers must also be aware of how students’ interest levels fluctuate
based on the methods used. Variations in approach may be required depending
on students' personalities and their attitudes toward music lessons. During
transitions between musical activities, teachers must maintain emotional
continuity and keep students focused. Especially in primary grades, musical
activities must be alternated frequently to maintain engagement due to
students’ limited attention spans.
Difficult songs should be spread across multiple lessons to avoid fatigue and
loss of interest. The timing of the music class within the daily schedule also
matters. If placed later in the day, student fatigue must be taken into account,
and engaging, energy-boosting activities should be introduced. When music
lessons follow physically demanding classes like physical education or labor
training, teachers should begin with calm musical activities to restore focus and
readiness for learning.
Music education in general education schools plays a vital role in the
aesthetic and emotional development of students. Among the various
components of a music lesson, listening to music stands out as both the most
responsible and engaging phase. Its effectiveness, however, largely depends on
the teacher’s approach and commitment. Music listening not only develops
students’ musical memory but also enables them to analyze, compare, and
internalize musical expressions. A well-organized music lesson fosters
emotional resonance and provides meaningful aesthetic experiences, which
contribute to students' overall development.
The study is based on a qualitative analysis of music lesson structures,
taking into account pedagogical practices implemented in Uzbek schools. The
author evaluates the methods used by teachers, including:
Emotional Structuring:
Creating emotionally engaging environments
during lessons.
Multimodal Activities:
Incorporating singing, rhythmic movement, and
music listening in a coherent structure.
Repetition and Reinforcement:
Revisiting previously learned songs
and gradually introducing new elements.
Individualized Approach:
Recognizing and responding to each
student’s strengths and weaknesses.
In addition, the lesson’s effectiveness is examined in relation to external
conditions, such as the lesson’s time slot in the daily schedule and the preceding
subject.
Results
The analysis reveals that emotionally rich and structurally balanced lessons
significantly enhance student engagement. The following outcomes were
observed:
Students demonstrate better musical understanding when lessons
integrate creative approaches and vary musical activities.
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The teacher’s ability to adapt the lesson structure on the spot, in response
to student mood and participation, leads to higher effectiveness.
Lessons planned with consideration of students’ age and musical
preparedness show improved retention and participation.
Incorporating individual singing, especially in canon or chorus formats,
motivates students and supports peer learning.
While general pedagogical structures apply to all music lessons, each lesson
must be uniquely tailored. Since music lessons occur only once a week and are
interspersed with non-musical classes, their impact must be long-lasting.
Therefore, teachers must use strategies that maintain students’ interest over
time. Furthermore, unexpected classroom dynamics may require spontaneous
changes to lesson plans, demanding high adaptability from the teacher.
Another key finding is that student engagement is not solely the result of
teaching techniques, but also the outcome of how well the teacher understands
each student. Even with limited weekly interaction, a teacher should aim to
grasp individual interests and emotional states to better plan music activities.
Conclusion
Effective music education requires planning lessons that encourage
communication, imagination, and emotional engagement. Individualized
attention through varied musical tasks, such as solo and choral singing, supports
musical growth and classroom unity. Teachers must cultivate students’ sense of
responsibility in musical performance and nurture self-monitoring skills.
Encouraging even small achievements builds confidence and promotes mutual
respect within the class, ultimately leading to joyful and fulfilling musical
experiences
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