European International Journal of Pedagogics
81
https://eipublication.com/index.php/eijp
TYPE
Original Research
PAGE NO.
81-83
DOI
3
OPEN ACCESS
SUBMITED
09 March 2025
ACCEPTED
05 April 2025
PUBLISHED
08 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Methodology of Teaching
Music Folklore for Music
Teachers
Rakhimova Aziza Egambergan kizi
Independent researcher at Urgench State Pedagogical Institute,
Uzbekistan
Abstract:
This article analyzes the methodology of
teaching musical folklore in the process of training
music teachers, its scientific and theoretical
foundations, content and practical application. Effective
methods of forming professional competence of future
teachers, developing aesthetic taste and educating in
the spirit of respect for national culture by integrating
folklore samples based on folk oral traditions into music
education are highlighted. At the same time, the article
presents methodological recommendations on the use
of lesson plans based on folk music, interactive methods
and modern pedagogical technologies.
Keywords:
Musical folklore, folk art, lesson plans,
interactive methods, national values, professional
training, musical competence.
Introduction:
National musical culture is an important
expression of the historical memory, aesthetic
worldview and socio-spiritual values of each nation. The
rich musical folklore of the Uzbek people is an invaluable
heritage that has been passed down orally from
generation to generation, expressing the most delicate
feelings of the people's soul and emdiving centuries-
old experience of social life. In today's era of
globalization, with the strengthening of foreign cultural
trends, it is no coincidence that it is through these
folklore treasures that the younger generation develops
a sense of identity, forms and strengthens a sense of
respect for national values.
The study of musical folklore samples in the educational
process is important not only for mastering cultural
heritage, but also for deepening the professional
training of future music teachers, developing their
creative approach. Therefore, the development of
effective teaching methods for musical folklore,
enriching it with modern pedagogical technologies and
European International Journal of Pedagogics
82
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
using it in practical lessons remains an urgent issue.
From this perspective, this article is aimed at an in-
depth analysis of the methods, tools and pedagogical
approaches used in teaching musical folklore, as well
as at revealing the role of these elements in the
formation of professional competence in the process
of training music teachers. Through in-depth study of
folk music in music education, not only loyalty to the
essence of national culture is maintained, but also the
level of maturity of the modern teacher is increased.
Theoretical basis
Musical folklore is one of the forms of artistic
expression that reflects the socio-cultural experience,
aesthetic views and philosophy of life of the people.
The musical folklore of the Uzbek people includes
many forms and genres, such as bakhshi, song genres,
epics, maqoms, ceremonial songs, children's folklore.
This rich cultural layer can serve as a pedagogical
resource in the formation of professional competence
of music teachers. The following structural aspects are
of great importance in the process of teaching musical
folklore to teachers:
Theoretical preparation: Future music teachers must
deeply master the historical roots, genres, form and
content features of musical folklore. In this, theoretical
foundations such as the system of folklore terms, the
structure of maqoms, and the aesthetics of folk art are
studied separately.
Practical activities: Students develop practical skills by
singing,
performing
with
instrumental
accompaniment, staging, and analyzing musical
folklore samples. At this stage, vocal, rhythmic, and
intonation exercises, as well as the use of folk
instruments, play an important role.
Pedagogical and methodological approach: Future
teachers master the use of modern pedagogical
technologies in the study of folk music - the project
method, interactive methods, cluster and aquarium
methods. These methods serve to effectively convey
musical material, develop students' independent
thinking and creative approach.
Cultural identity formation: In the process of studying
musical folklore, music teachers also perform
educational tasks that foster a sense of national
identity, respect for cultural heritage and a sense of
pride. Through this process, musical aesthetic taste,
harmony of universal and national values are ensured.
Also, the effectiveness and efficiency of the teaching
process are increased through special lesson plans,
methodological manuals and multimedia tools on the
use of musical folklore materials. Based on local and
international experience, the use of innovative
approaches in the process of teaching folk music - virtual
ensembles, digital notation programs, audiovisual
analysis tools - is also relevant.
Literature analysis (review)
Research on the methodology of teaching musical
folklore has been conducted at the intersection of
musicology, pedagogy and cultural studies, and most of
them are related to the theoretical foundations of folk
art, its role in music education and the level of training
of teachers. In particular, the research of A. Zunnunova
and B. Akhmedov on didactic principles in the study of
folk music genres puts forward important ideas about
the role of national heritage in music education[7; 192].
They, having identified the aesthetic, spiritual and
educational potential of folk music, substantiate the
need for an individual approach in working with
students.
Also, I. Kadirov’s monograph “Uzbek folk music”[6; 312
]
systematically covers the genre characteristics and
performance styles of musical folklore, creating a rich
theoretical basis for use in practical classes. The author
analyzes aspects related to the form, rhythm and tone
structures of folklore samples and also provides didactic
recommendations for teachers.
There are also a number of notable studies in foreign
literature on the intersection of musical folklore and
pedagogy. For example, the work of J. Campbell and C.
Scott entitled “Teaching Music Through
Folklore”[3;
224] is aimed at combining the methodology of music
education based on folklore with modern educational
technologies. It extensively covers the importance of
folklore motifs in the formation of students' musical
thinking.
Research conducted by Russian scholars such as V.
Medushevsky[4; 256] and E. N. Gromova[2; 188] also
deeply reveals the pedagogical potential of folk music.
In particular, Gromova’s opinion that work should be
carried out on the basis of the principle of
“ethnopedagogical approach” in teaching folklore is
close to the methodological approaches of this article.
Also, the role and function of folklore materials in the
teaching process are specifically indicated in the State
Educational Standards, curricula and methodological
manuals created within the framework of the reforms
being carried out in music education in modern Uzbek
pedagogy. This ensures the availability of practical
applications in teaching musical folklore, along with
scientific and theoretical foundations. The analysis of
the above literature shows that the pedagogy of
teaching musical folklore encompasses multifaceted
methodological approaches, and not only the level of
knowledge of the teacher, but also the aesthetic taste
and attitude to national culture are considered
European International Journal of Pedagogics
83
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
important factors.
METHODOLOGY AND RESULTS
The methodological approaches used in teaching
musical folklore are closely related to the teacher's
didactic skills, attitude to national heritage, and ability
to embrace modern educational technologies.
Therefore, methodology is not only a means of
conducting lessons, but also an educational and
aesthetic system that affects the personality of the
student. Based on the experiences studied in this
article, effective models of folk music teaching
methodology were developed.
Firstly, interactive methods - such as "cluster",
"brainstorming", "conceptual map", "role playing" -
made it easier to analyze musical folklore samples,
understand their content and historical context. This
approach served to form critical thinking, independent
observation, and group work skills in students.
Secondly, an integrative approach - studying music in
conjunction with other subjects (for example, history,
literature, geography) made folklore materials more
vivid and meaningful. This methodology allowed future
teachers to see music not only as a performing art, but
also as a socio-cultural phenomenon.
Thirdly, through practical-oriented lessons, students
actively participated in playing folk instruments,
singing folk songs, and staging folklore. This method
led to the strengthening of their stage culture, creative
thinking, and love for national music.
The conducted experimental lessons showed that
teaching musical folklore on a systematic basis, using
scientifically based methods, leads to the following
results for teachers:
National musical thinking and aesthetic worldview are
formed;
Important components of professional competence -
musical listening, performance, analysis, and
interpretation skills - are developed;
Motivation for independent and creative work, in-
depth study of musical heritage, increases;
The cultural and educational significance of Uzbek
musical folklore is deeply understood.
Thus, the methodological approaches used in teaching
musical folklore are significant in that they serve not
only as knowledge, but also as an important tool for
the formation of aesthetic education, cultural identity
and professional skills. Research in this area serves to
update the content of music education and enrich it on
the basis of national culture.
CONCLUSION
Musical folklore is a musical expression of the people's
spirit, an integral part of historical memory and national
identity. Teaching it serves not only to impart
knowledge, but also to educate, understand and
appreciate. Methodological training in this area for
future music teachers serves as an important stage in
their professional formation. The analysis conducted in
the article shows that the use of modern interactive,
integrative and innovative methods in the process of
teaching musical folklore, rather than relying only on
traditional methods, significantly increases the
effectiveness of the educational process.
Teaching folk music materials on theoretical and
practical grounds forms independent thinking, loyalty to
national values, aesthetic taste and creative thinking in
teachers. Especially if the teacher himself has a deep
understanding of the educational, social and artistic
aspects of folk music, he will have the opportunity to
effectively convey this knowledge and skills to his
students. Therefore, the methodology of teaching
musical folklore should be considered not only as a
didactic mechanism, but also as a pedagogical tool
serving
national
and
spiritual
upliftment.
Methodological approaches developed on the basis of
research and experience in this area serve as a reliable
theoretical and practical basis for current and future
music education. As a result, the rich heritage of folk
music will not only be preserved, but will also become
an educational resource of vital importance, actively
used in the education of the modern generation.
REFERENCES
Berdiyevich, P. Q. (2024). Organization of independent
educational activities of music education students in
higher pedagogical education. European International
Journal of Pedagogics, 4(12), 95-98.
Громова Е. Н. Этнопедагогика в музыкалном
образовании: теориya и практика. –
СПб.: Лан, 2011.
–
188 с.
Campbell P. S., Scott C. Teaching Music through
Folklore.
–
New York: Oxford University Press, 2012.
–
224 p.
Медушевский В. В. Введение в музыкалную
эстетики. –
М.: Музыка, 1995. –
256 с.
Panjiy
ev, Q., Axmedov, N.. (2025). Musiqa ta’limini
xalqaro akkreditatsiya va sertifikatsiyadan o‘tkazish
strategiyalari. Инновatsiонные исследования в
современном мире: теория и практика, 4(6), 135–
140.
Qodirov I. O‘zbek xalq musiqasi. –
T.: Fan, 2002.
–
312 b.
Ahmedova B. Xalq ijodi va musiqa ta’limi. —
Toshkent:
Fan, 2002.
—
192 b.
