International Journal of Pedagogics
317
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue06 2025
PAGE NO.
317-319
10.37547/ijp/Volume05Issue06-85
Current Issues of Training Young Performers in Rubob
Performance
Begmatov Akmal Kaimjonovich
State Conservatory of Uzbekistan, Senior Lecturer, Department of Music Pedagogy, Uzbekistan
Received:
27 April 2025;
Accepted:
23 May 2025;
Published:
25 June 2025
Abstract:
This article covers the current issues of the process of training young talents in rubab performance. It
analyzes the stages of historical development of the art of rubab performance, the uniqueness of national schools
and the experience of educating young performers in these schools. The article also describes the problems
encountered in teaching rubab performance, the possibilities of using modern educational technologies, and
methodological recommendations aimed at forming the musical thinking of young performers. The article outlines
practical directions for developing a national instrumental performance school and high-quality training of the
younger generation in the art of rubab, summarizes advanced experiences in this regard, and clarifies future tasks.
Keywords:
Rubab performance, young performers, national instrumental art, maqom, musical education,
performance school, pedagogical methodology, innovative technologies, musical thinking, folk instruments.
Introduction:
The rubab instrument occupies a special
place in the development of Uzbek national musical art.
For centuries, the rubab has served to create high
examples of national musical culture with its delicate
timbre, wide performance possibilities and unique
means of artistic expression. In particular, in maqom
styles, folk melodies and dance music, the rubab
instrument is valued not only as the main performing
instrument, but also as a vivid expression of national
identity and aesthetic views. In today's process of
globalization and cultural integration, the issue of
preserving national musical traditions and instilling
them in the hearts of the younger generation is
becoming more urgent.
In this regard, training young talents in the art of rubab
performance and educating them based on the
traditions of national instrumental performance
schools remains an important task not only to continue
the cultural heritage, but also to enrich it with new
artistic aspects at the modern stage. Today's music
education system faces a number of problems in
teaching rubab performance. In particular, the lack of
updating of teaching methodologies, insufficient use of
modern technologies, and the fact that curricula do not
fully meet the national and modern requirements
affect the effectiveness of training young performers.
Therefore, the introduction of new pedagogical
approaches, innovative technologies in educating
young people in rubab performance, the scientific and
theoretical substantiation and practical development
of national instrumental performance traditions are
among the urgent issues awaiting their solution today.
The training of young talents in rubab performance is
an integral part of national music education, and this
process is of great importance in preserving the rich
musical heritage of our people and passing it on to
future generations. Today, the quality training of young
people studying rubab performance is closely related
to
several
factors,
including
methodological
approaches in the educational process, the content of
curricula, the qualifications of teachers and instructors,
and the use of modern technologies.
First of all, in the process of training young people in
rubab performance, it is necessary to take into account
the specific characteristics of national instrumental
performance schools (Bukhara, Khorezm, Fergana-
Tashkent schools). Each school differs in the technique
of playing the rubab, its melodiousness and artistic
interpretation. Therefore, in the training of young
performers, identifying their individual abilities,
determining which school traditions they are inclined
to, and building training programs accordingly
International Journal of Pedagogics
318
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International Journal of Pedagogics (ISSN: 2771-2281)
increases the effectiveness of education.
The current problems encountered in the process of
training rubab performance include the outdated
content of some methodological manuals and
programs, and the insufficient introduction of modern
technologies - audiovisual materials, interactive
programs. As a result, many young people face
difficulties in mastering the rubab instrument perfectly.
At the same time, the quantity and quality of music
competitions, performance seminars and trainings
aimed at developing the performance of national
instruments, and classes organized based on the
teacher-student tradition also affect the process of
training young performers.
It is worth noting that the training of young people in
rubab performance should not be limited only to the
development of technical skills. In this process, special
attention should be paid to the formation of such
qualities as musical thinking, aesthetic taste, respect
for national culture, and creative approach. The
complete mastery of maqom paths, the interpretation
of folk melodies while preserving the national spirit
determine not only the professional level of the young
performer, but also his loyalty to his national identity.
Therefore, it is important for teachers in the
pedagogical process to include not only teaching
performance techniques, but also classes aimed at
understanding the spiritual and aesthetic content of
melodies.
Another pressing issue is the development of ways to
teach rubab performance using digital technologies in
modern music education. Virtual instruments, online
lessons, and digital maqom libraries allow increasing
interest in rubab among young people. This opens up
opportunities for bringing the system of training young
performers in the art of rubab to a new level.
Literature analysis
Analysis of scientific and literary sources written on the
issue of training young performers in the performance
of the rubab shows that research in this area has been
conducted mainly within the framework of the history
of national instrumental art, maqom performance,
didactics of folk instruments and traditions of
performance schools. In particular, the works of
scientists and practicing performers such as S.
Mirzayev, T. Alimatov, A. Sultanov, dedicated to the
study of the rich heritage of the musical culture of
Uzbekistan, cover in detail the historical formation of
the rubab instrument and its role in the art of maqom.
These
sources
provide
important
scientific
considerations about the function of the rubab in
maqom paths, performance technique and its
importance in national instrumental orchestras.
However, the issues of modern requirements,
pedagogical approaches and methodological systems
for training young performers are covered more in the
form of general recommendations, and there are not
enough studies with a systematic scientific and
practical basis.
Pedagogical and methodological approaches to
training young people in playing the rubab are
considered in manuals dedicated to the methodology
of teaching playing Uzbek folk instruments (for
example, in publications of the State Conservatory of
Uzbekistan). These manuals provide basic instructions
on the technique of playing the rubab, basic training
methods, methods of working on maqom paths,
interpretation of melodies and ways of preparing them
for the stage. At the same time, modern textbooks on
teaching folk instruments (for example, the works of A.
Jo'rayev, M. Toshpulatov) are aimed at forming the
technique of playing the instrument in young
performers, and they emphasize the importance of an
individual approach for young performers in mastering
maqom and folk melodies.
Although in recent years some scientific articles have
appeared on the use of innovative technologies, digital
resources and interactive methods in teaching the
performance of the national instrument, they are
analyzed more in the context of the general education
system. Therefore, the issue of training young talents
in the performance of the rubab instrument remains a
relevant area today, requiring a comprehensive
approach and systematic scientific research. Although
the existing literature is valuable in shedding light on
the historical development of rubab performance and
its place in the art of maqom, there has not yet been a
sufficiently complete and practical study of the
methodological system and innovative approaches
based on modern technologies to form the younger
generation as qualified specialists in this field. This
poses new scientific tasks for researchers and
practicing teachers.
DISCUSSION
The issue of training young performers in the
performance of the rubab, on the one hand, arises from
the need to continue the historical development of the
national musical art and preserve its unique artistic
aspects, and on the other hand, it is an important
means of preserving our national identity in today's
globalization. During the discussion, it was revealed
that there are a number of problems and ways to solve
them in this area, which require a deep scientific and
pedagogical approach.
First of all, it is worth noting that in the current period,
the weakening of the tradition of teacher-student,
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
insufficiently systematic implementation of practical
training, and the inconsistency of curricula with
modern requirements are having an impact on the
training of young rubab players. It is clear that in many
music schools, rubab lessons are mainly conducted
based on old methodological manuals, and the
insufficient introduction of modern technologies, such
as audiovisual resources, online platforms, and digital
educational materials, do not fully contribute to the
deepening of the knowledge and skills of young
performers. At the same time, the issue of forming a
creative approach, independent musical thinking, and
national aesthetic taste in young performers remains
relevant. This makes it a priority not only to improve
technical skills in rubab performance, but also to
explain the spiritual content of melodies and teach
them to feel the national spirit. During the discussion,
it was also noted that in training young people in rubab
performance, it is necessary to deeply study the unique
technical and artistic styles of various national schools
- Bukhara, Khorezm, Fergana-Tashkent schools - and
reflect them in the curriculum.
According to the results of the discussion, the following
areas are relevant for improving the skills of young
rubab players and preparing them to meet modern
stage
requirements:
introducing
innovative
pedagogical technologies into the educational process,
expanding opportunities for participation in national
and international performance competitions, restoring
and developing the mentor-student system, as well as
creating digital libraries and online platforms for the art
of the national instrument. In this regard, the issue of
educating young talents in rubab performance should
be considered not only as a strategic task serving music
education, but also as a strategic task serving the
preservation and development of our national culture.
CONCLUSION
The issue of training young performers in the
performance of the rubab is one of the important areas
of preserving and enriching our national musical
culture. The analysis has shown that in today's age of
globalization
and
digital
technologies,
the
development of the art of the rubab, its adaptation to
modern requirements while preserving traditional
performance methods, remains a priority task. In the
process of training young performers, it is of particular
importance to thoroughly study the unique techniques
and artistic interpretations of national musical schools,
to deeply reflect them in the curriculum, and to
strengthen the traditions of the teacher-student.
Also, the use of innovative pedagogical approaches,
modern
technological
resources,
and
digital
educational materials in the educational process serves
to form creative thinking and national aesthetic taste in
young rubab players. Today, there is a pressing need for
the
implementation
of
scientifically
and
methodologically based systematic research and
practical projects on educating the younger generation
in the performance of the rubab. After all, the rubab
instrument is not only a unique symbol of our national
musical culture, but also a unique heritage that
expresses the artistic thinking and aesthetic views of
our people. Instilling it in the hearts of the younger
generation and developing it in accordance with the
requirements of the time remains a priority task for
every teacher, musicologist and cultural figure.
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