International Journal of Pedagogics
423
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue06 2025
PAGE NO.
423-426
10.37547/ijp/Volume05Issue06-112
The Role And Significance Of F.N.Vasilev's Class In The
Performance Of Folk Instruments
Nabiyeva Malohat Abdumajidovna
Teacher of the Department of Performance on Folk Instruments State Conservatory of Uzbekistan
Received:
26 April 2025;
Accepted:
19 May 2025;
Published:
30 June 2025
Abstract:
This article analyzes the role and significance of the class of the teacher and performer F.N. Vasiliev,
who played an important role in the development of the performance of folk instruments. F.N. Vasiliev's
methodological approaches, his unique methods in the formation of performing skills in students, and his
contribution to the stage and academic development of folk instruments are scientifically covered. The article also
shows how the curriculum, repertoire selection, and approach to performance techniques of the Vasiliev class
meet modern pedagogical requirements. The analysis is carried out on a comparative basis with national and
world experience in the performance of folk instruments, and the relevance of the Vasiliev school in today's music
education system is highlighted.
Keywords:
Folk instruments, performing arts, pedagogical methodology, music education, performance
technique, instrumental school, musical heritage, curriculum, national traditions.
Introduction:
Folk instruments are a musical
expression of the spiritual world, historical memory
and aesthetic thinking of the nation. Each nation
ensures the continuity of its culture by preserving its
musical traditions and passing them on to future
generations. In particular, in performing arts, the styles
and schools formed through the master-student
tradition are of decisive importance in this direction.
One of such creative schools is the class of F.N. Vasiliev,
which made a huge contribution to the formation of
completely new pedagogical approaches, performance
techniques and artistic culture in the performance of
folk instruments.
F.N. Vasiliev, not only a skilled performer, but also a
dedicated teacher of his time, created an important
foundation for the appearance of folk instruments on
the academic stage. Through his work, folk instruments
began to turn from a simple means of mass expression
into an important component of truly performing art.
Vasiliev's class is recognized as a school that combines
not only technical skill, but also aesthetic taste, stage
culture, musical thinking and nationality.
Today, in the process of teaching folk instruments in
the music education system, the ideas and methods of
the F.N. Vasiliev school are still relevant. In this article,
we aim to analyze the role of Vasiliev's class in the
development of folk instrument performance, its
musical and pedagogical heritage, its impact on
modern performance culture, and the significance of
this school in educating the next generation of
musicians.
As a result of the measures taken to improve the
quality of the national higher education system based
on the competitive and global practice of national
personnel in the “Strategy of Actions on Five Priority
Areas of Development of the Republic of Uzbekistan for
2017,” approved by the Decree of the President of the
Republic of Uzbekistan No. PF 4947 dated February 7,
2017-2021, great work is being done in the field of art
and culture in our country. In particular, we see that
there are music competitions in various schools and
music educational institutions, and internal attention
to our historical music is increasing. We also think that
this article will serve as an education for perfection in
the minds of our student youth.
If we look at the history of the conservatory, the
Tashkent State Conservatory was founded in 1946. At
the same time, the Tashkent State Conservatory named
after Mukhtar Ashrafi took on the task of training and
educating qualified teachers and educators for the
development of instrumental performance. The
famous people's artist, the famous Uzbek composer
International Journal of Pedagogics
424
https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
Mukhtar Ashrafi, who paid great attention to the
performance of Uzbek folk instruments, the
performance of Uzbek music, and works created for
folk instruments, lived and worked from 1912 to 1975.
This great artist laid a great foundation for the State
Conservatory of Uzbekistan. Initially, the Tashkent
State Conservatory was named after Mukhtar Ashrafi.
M. Ashrafiy was interested in music, especially playing
the dutor, from childhood. The master artist received
his first musical education in Bukhara at the technical
school and the Samarkand Research Institute of Music
and Choreography. Famous musicians mentored him. It
is worth noting that in just 3 years at the technical
school, he managed to learn how to play the dutor and
national melodies and songs from Abdurakhim Umarov
and Domla Khalim Ibodov. Currently, M. Ashrafiy is
considered one of the teachers who made a huge
contribution to the development of the Uzbek
Conservatory. The most important thing is that M.
Ashrafiy performed the first notes on the dutar
instrument in an academic direction. This shows that a
greater path has been opened to the academic
direction. At that time, the most prominent and
versatile artists such as People's Artists of Uzbekistan
Farrukh
Zokirov,
Nasiba
Abdullaeva,
Rustam
Abdullaeva, Farkhod Alimov graduated from the
Conservatory. We can continue their list for a long time.
M. Ashrafiy's works "Sö'zsiz Qo'shıq",
"Ferg'onacha
Yalla", "Yoshlik qo'shıgı" are still pleasing to the
listeners with their own sound in Uzbek folk instrument
ensembles and orchestras. M. Ashrafiy, while working
at the Tashkent State Conservatory, attached great
importance to the development of music theory
throughout the republic. In 1948, while working as the
rector of the Tashkent State Conservatory, he founded
classes of Uzbek folk instruments at the faculty of
orchestral performance. He paid great attention to the
development of performance on Uzbek folk
instruments, to the upbringing and education of
versatile and skilled musicians. Educational and training
work in musical instrument performance began to
require
qualified
teachers.
Instruments
were
reconstructed. At a time when attention to
performance on folk instruments was increasing,
independent faculties and departments were
established. Attention and demand for folk
instruments, and proposals, began to feel the need for
excellent teachers and pedagogues. To ensure the
availability of high-quality instruments in all republics,
orchestras and ensembles were formed, along with the
attention paid to the performance of the instrument.
In the 1950s, the Tashkent State Conservatory was
considered
the
highest-quality
music
higher
educational institution in Central Asia and Kazakhstan
in the specialty "Folk Instruments". In 1952, the faculty
graduated for the first time (chan) Akhmadjon Odilov,
(prima rubob) V.Ya. Borisenka, (kashkar rubob, dutor)
F.N. Vasiliev. Feoktist Nikiforovich Vasiliev (1919-1987
- teacher, master teacher, musician, the first to play the
Kashgar rubab in Uzbekistan in the academic
performance style. In 1937, he was admitted to the
Khamza Music School in the Kashgar rubab class. Since
1938, he has been working as a performer and musician
of the Uzbek Philharmonic Orchestra of Folk
Instruments. During the Great Patriotic War, he worked
in the Song and Dance Ensemble of the Turkestan
Military District. In 1952, he graduated from the
Tashkent State Conservatory in Kashgar rubab under
the guidance of Ashot Ivanovich Petrosyans. In 1949, he
began teaching his knowledge and experience to
students at the Conservatory in the Kashgar rubab,
dutar, and tanbur specialties. A number of his students
who took lessons in Kashgar rubab The famous
musicians and teachers who loved the people were
Sulaymon Takhalov, Ari Bobokhonov, G. Ergashev, T.
Rajabov. In 1983, he devoted his life to the Tashkent
Conservatory as a teacher and professor for almost 40
years. It was precisely from the teacher that the first
swallows on the dutor instrument were Rozibi
Khodjaeva, now a professor at the Uzbek State
Conservatory. The dutor class - how and when did it
begin to develop. From the following pre-1948
diatonic-sounding dutors, khofiz accompaniments and
gradually developing multi-voice orchestras and
ensembles, to the present day, the dutor instrument
has discovered many talents. A. Ivanovich Petrosyans
participated as an organizer in the opening of the dutor
class. The first students in this class were R. Sultanova,
A. Ilyosov.
In 1967, the dutar class was taught by the now emeritus
professor Boqijon Rakhimjonov and he trained a
number of students. The dutar class at this faculty had
become the leading class. Between 1975 and 1983, it
was taught by the famous musician, People's Artist Orif
Qosimov. This teacher had such a unique performance
style as a performer that his melodies, rich in dutar
rhythms, are studied by many students both in terms
of technique and technique. Since 1987, Rozibi
Khodjaeva has been performing as a teacher. Currently,
our dutar class has taken its place in both practical and
theoretical aspects, sharing its deep knowledge with
students. R. Khodjaeva was born on March 25, 1956 in
the village of Krasnogorsk, Parkent district, Tashkent
region. They continued their primary musical education
at the local music school, and later at the Hamza Music
School in the class of teacher Sotivold Karimov. At the
conservatory, Rozibi Khodjaeva graduated from the
same institution in the class of N. F. Vasilev and started
International Journal of Pedagogics
425
https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
working as a teacher in the dutor class. Currently, the
teacher has 35 years of experience and has trained
many students in the specialty and ensemble class.
Among Dono Rakhimova's students, a student in the
dutor class in the Republic of Korea has been giving his
knowledge to the students of the music college in the
Republic of Korea. Senior teachers of the Uzbekistan
State Conservatory Durdona Khaydaralieva and
Malokhat Nabieva are also passing on the knowledge
and experience they received from their teachers in the
dutor class to their students.
The dutor class itself includes 2 strings, namely its
sound, timbre, and theoretical aspects, which is why R.
Khodjaeva's class is different from other dutor classes.
The main difference is that the direction suitable for
academic performance is the correct orientation of the
dutor, the rules of application, and so on. They instill
the following mistakes and shortcomings in the student
- first, they start by holding the dutor instrument
correctly and educating it in an ethical and aesthetic
spirit. First of all, they give the student musical works
based on their abilities, most students have a great
desire to perform large works, and they face various
difficulties. However, R. Khodjaeva gives all the works
on the dutor instrument in the right direction. They
work on the phrasing, that is, musical sentences in the
work. R. Khodjaeva, while conducting her activities, has
the main goal of educating the younger generation
correctly. We see that the correct sitting position on
the dutor, the correct placement of the right and left
hands, and especially the position, the rules of appliqué
are in order. Because this musician-pedagogue has
been creating in a truly academic direction. She pays
great attention to the order of finger placement on the
appliqué-dutor. The sequence of finger placement,
especially the orderly placement of the fingers
according to the melody, is still considered the most
important issue today. Because from the first lessons,
the student must correctly place the right and left
hands on the dutor and reveal the artistry of the work.
Most teachers do not pay attention to this. The fingers
of the right and left hands are open. We see that the
student performs this way throughout the work until
the end. There is no ensemble with a chorister because
the piece is repeated from beginning to end. If it is
worked on in separate parts, if the mistakes are
identified and more work is done on it, the student will
develop practical skills. Often, they work based on the
experience of showing mastery with small pieces rather
than approaching large pieces, and they constantly
teach their students in this way. They can show skillful
performance
in
the
introduction,
exposition,
development, and coda parts of the piece. When
working with Uzbek folk songs, they also attach great
importance to dutor beats. In the ensemble class, they
pay special attention to dynamics and dutor beats,
taking into account accompaniments in melodies and
songs. There is another important aspect in the
teacher's experience - they ask the student to evaluate
himself. They also find their mistakes and shortcomings
and give them ideas about how to work on themselves
more and more effectively. Teacher R. Khodjaeva tells
her students that during the process of working on a
piece, “When we were studying, we would not take
large works, but medium-sized works. Then we would
mainly consider the artistry of the work, the quality of
the sound, the application and positions and then we
would see it as a whole. They say that today's youth are
often hasty and allow large works to be broken into
pieces.” teacher. This serves as a great example for us
young teachers.
The teacher continues his honorable profession today,
being a demanding and enthusiastic coach for his
students. During creative and technical exams, the
teacher works with each student individually. After the
performance, they answer theoretical questions, play
scales on the dutor instrument, show them, and give
them relevant advice. They actively participate in
republican and international events and festivals with
the dutor girls "Nozanin". The ensemble is
distinguished by the fact that they also play the dutor
instrument and together they perform folk songs,
which are loved by the people. Such melodies and
songs as "Nakhori nashta", "Dutorim", "Tanovor",
"Dilnoz",
"Dilkhiroj",
"Popurri",
"Norim-norim",
"Tebranur" are included in the ensemble's repertoire.
We wish such an accomplished teacher and a
passionate teacher good health and great victories in
his future endeavors.
CONCLUSION
In the field of folk instrument performance, F.N.
Vasiliev's class created a firmly rooted tradition with its
pedagogical school, theoretical and methodological
approach and performance style. He developed folk
instruments not only as a traditional means of
expression, but also as a professional direction that
rises to the level of performing art. The performing
school formed by Vasiliev serves to develop technical
skills in students, independent work on a musical text,
and a deep sense of stage culture and national melody.
Also, F.N. Vasiliev's methodological works, textbooks
and repertoire selection serve as an important factor in
the formation of modern educational programs in folk
instrument
performance. Students
who
have
graduated from his school today work not only as
performers, but also as pedagogical specialists in folk
instruments. This shows that Vasiliev's class is of great
importance not only for its time, but also for the
International Journal of Pedagogics
426
https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
process of current and future music education.
In conclusion, F.N. Vasiliev's class occupies a special
place in the development of folk instrument
performance, in the upbringing of young performers in
the national spirit, and in the preservation of our
musical and spiritual heritage. A deep analysis,
promotion, and practical application of the heritage of
this school in modern music education is one of the
priority tasks of today's music pedagogy.
REFERENCES
1.
Vasilyev, F.N. Methodology of teaching folk
instruments in the system of musical education /
F.N. Vasilyev.
–
Moscow: Music, 1987.
–
192 p.
2.
Kargapolov, S.I. Folk instruments: history, theory,
methodology / S.I. Kargapolov.
–
St. Petersburg:
Composer, 2003.
–
248 p.
3.
Safarov, A. Fundamentals of national music and
performing arts / A. Safarov. - Tashkent: "Perfect
printing service", 2018. - 180 p.
4.
Bakhtiozin,
N.M.
Metodicheskie
osnovy
obucheniya igre na narodnyx instrumentax / N.M.
Bakhtiozin.
–
Kazan: Kazansky GUI, 2001.
–
135 p.
5.
Davronov, A. Music pedagogy: theory and practice
/ A. Davronov. - Tashkent: Publication of the Music
Institute of the RFA, 2021. - 156 p.
6.
Tursunova, D. Tradition and modernity in the
performance of folk instruments / D. Tursunova //
Scientific-practical journal of art studies.
–
2022.
–
No. 2. - B. 45
–
51.
7.
Karimov, B. Traditional Instruments of Uzbekistan
and Their Pedagogical Value // Central Asian Music
Review. - 2020. - Vol. 3, Issue 1.
–
P. 77
–
85.
