International Journal of Pedagogics
33
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue05 2025
PAGE NO.
33-35
10.37547/ijp/Volume05Issue05-09
1
Training of Students of Music Education on The Basis of Folk
Creativity
Rakhimova Aziza Egambergan kizi
Independent researcher at the Urgench State Pedagogical Institute, Uzbekistan
Received:
09 March 2025;
Accepted:
05 April 2025;
Published:
08 May 2025
Abstract:
This article discusses the issues of effective use of folk art samples in the professional training of students
of music education. The importance of folk art samples as a means of musical and spiritual education, their role
in understanding national identity, forming aesthetic taste and involving students in creative activities is analyzed.
The article discusses the integration of educational programs based on folk melodies and songs, epics and
maqoms into the educational process, their impact on educational effectiveness on a scientific basis.
Keywords:
Folk creativity, music education, folk melodies and songs, epic, national education, methodological
approach, creativity, aesthetic taste, curriculum.
Introduction:
In our country, the organization of
education based on national and universal values is one
of the priority tasks of today. Especially in the field of
music education, there is an increasing need to form
future specialists as fully mature, professionally
competent, and aesthetically developed individuals by
relying on our cultural heritage and unique examples of
folk oral art. From this perspective, the effective use of
the didactic, communicative, and educational potential
of folk art - in particular, folk melodies and songs, epics,
maqoms, and folklore genres - in the educational
process is one of the current scientific and
methodological problems. In the fields of music
pedagogy theory and practice, the model of education
based on folk art is recognized as a powerful factor in
the formation of students' musical thinking, cultural
identification, and national identity. In this process, the
use of modern educational concepts such as
constructivist
pedagogy,
a
competency-based
approach, integrative methods, and an activity-based
approach is of great importance. Through such
approaches, students in the field of music education
master the use of folk art not only as a source of
knowledge, but also as an innovative pedagogical
resource that allows them to be practically applied in
their professional activities. This article analyzes the
methodological and pedagogical foundations of folk art
as a musical-educational resource and highlights the
mechanisms for forming student competence through
its integration into the music education process. At the
same time, the role of the educational process based
on folk art in expanding students' cultural and aesthetic
outlook, developing creativity, and enriching national
musical thinking is scientifically substantiated.
METHODOLOGY
The effectiveness of any educational process depends
on its methodological foundation. In the issue of
educating students in the field of music education
based on folk art, methodological approaches ensure
the formation of musical knowledge, cultural
competence, and creative thinking in a way that
combines them. In this study, the organization of
teaching folk art based on a competency-based
approach in accordance with modern requirements
was theoretically and practically substantiated.
The activity-based approach was chosen as the main
methodological basis in the scientific work. Because it
is through this approach that the student is ensured to
transform from a learner into an active participant and
creator, to work directly with folk art, to deeply
assimilate musical samples through analysis, singing
and staging them. In this case, the analysis of folk
songs, fragments of maqom, epics and samples of
traditional music, revealing their educational and
aesthetic properties becomes the main didactic task.
Also, special attention was paid to the integrative
approach in the research. By teaching the musical,
literary, historical and cultural layers of folk art in an
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
interconnected manner, a deep and multifaceted
worldview is formed in the student. This, in turn, serves
to understand national identity, strengthen socio-
cultural identity and develop professional competence.
The research methods used were observation,
interview, musical listening, creative laboratory
exercises, experimental testing, questionnaire and
content analysis. Through these methods, changes in
the perception and performance of folk art samples,
motivational and emotional changes in the minds of
students were identified during the educational
process. At the same time, advanced foreign
experiences, national methodological literature and
the main ideas of folk pedagogy were deeply studied
and analyzed.
As a result of the combination of these methodological
approaches and methods, the system of education
based on folk art was formed as a powerful pedagogical
model that serves not only to impart knowledge, but
also to personal and creative growth, a deep sense of
nationality, and a careful approach to cultural heritage.
DISCUSSION
Folk art, especially its musical manifestations - folk
songs, epics, maqoms, ceremonial music - has reflected
the spiritual life of the nation for centuries. They are an
important component of the aesthetic worldview,
artistic taste, historical memory and cultural identity of
the people. For students studying music education, a
deep understanding and assimilation of this rich
heritage, creative work with it, and its reworking and
expression in new musical forms are not only a
theoretical but also a practical task.
The study found that education based on folk art not
only deepens students' musical knowledge, but also
educates them in a spirit of respect for national values,
and activates creative thinking. This situation is
reflected in their future professional activities as music
teachers. In particular, aspects such as teaching folk
music, teaching folk singing techniques, and working
with national instruments bring students closer to
traditional musical aesthetics.
However, during the discussion, it was found that the
share of folk art samples in current curricula is
insufficient, and in many cases they are interpreted as
correspondence study material. This deprives students
of penetrating the deep layers of folk music. Therefore,
there is a need to deeply integrate folk art into curricula
and programs, to present it on the basis of modern
educational technologies - for example, interactive
methods, multimedia musical applications, audio-
visual materials.
Also, during the discussion, it became clear that the
personality of the teacher, his creative potential and
attitude to folk art are decisive factors in teaching folk
music. If the teacher himself cannot perform folk
melodies and cannot explain their inner meaning, the
student will not accept them from the heart. Therefore,
it is necessary to develop separate methodological
directions for increasing the professional and cultural
competence of the teacher in teaching folk art.
At the end of the discussion, it can be said that teaching
on the basis of folk art should be considered not only as
a means of imparting musical knowledge, but also as an
important pedagogical tool for the comprehensive
development of the individual, developing his national
pride, artistic and aesthetic abilities, and creative
thinking. This, in turn, requires a substantive renewal of
the music education system.
Literature review
In order to deeply study the issue of teaching based on
folk art in music education, national and foreign
scientific sources were analyzed. Among the studies
conducted in this direction in Uzbekistan, the works of
such scientists as A. Yuldoshev, Z. Khodjayeva, G.
Qosimova[6; 156] are of particular importance. Their
studies widely cover the educational, didactic and
aesthetic possibilities of folk music. In particular, A.
Yuldoshev[9; 224] advocated the formation of the
national identity of young people through the teaching
of folk oral art, and expressed his opinion on the role of
folk songs and epics as pedagogical tools in ensuring
personal development through musical heritage.
Z. Khodjaeva[7; 51] in her research shows the
importance of national values in music education, ways
to combine them with other disciplines on the basis of
an integrative approach. Her scientifically based
recommendations emphasize the effectiveness of
interactive methods in introducing folk music.
Also, the work of M. Mirzayev on the introduction of
folk art into musical and pedagogical activities plays an
important role. In her research, she developed
methodological guidelines for developing national
musical hearing and performance skills in students
using folk instruments.
An analysis of international sources shows that foreign
educators, in particular, researchers such as C.
Swanwick[4; 160], L. Bresler[2; 1620], recommend an
approach based on folk art to strengthen cultural
identity in music education. They put forward personal
experience, cultural context, and creative participation
as the main components in the development of musical
thinking. C. Swanwick's work "Teaching Music
Musically"[4; 160] deeply explores the pedagogical
potential of folk music and recognizes the importance
of a contextual approach to teaching it.
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
Also, the recommendations developed by UNESCO[8]
on the preservation of folk music as a cultural heritage
and its inclusion in the educational process confirm that
the integration of folk art into education is a direction
of global importance.
In general, an analysis of the existing literature shows
that although the theoretical foundations for
organizing music education based on folk art have been
sufficiently developed, there remains a need to
implement special approaches, modern innovative
methods and integrated learning models to improve
the methodology of working with students, especially
at the higher education level.
CONCLUSION
Folk art is a direct expression of the aesthetic thinking,
musical taste and artistic views of the people, which
have been formed over the centuries. Its application in
the process of musical education is not only a means of
imparting knowledge, but also a powerful pedagogical
tool for personal development, raising cultural
awareness and forming national identity. The
conducted research has shown that educating students
in the field of music education on the basis of folk art
plays an important role in forming their ability to
consciously approach musical heritage, deeply
understand national values and appreciate aesthetics.
In this process, methodological systems based on
activity-based, integrative and competency-based
approaches serve to form students not only as listeners
or performers, but also as independent thinkers,
specialists inclined to creative research. Training
sessions organized on the basis of folk melodies and
songs, maqoms, epics and ceremonial music enrich the
content of musical education and strengthen its
national basis.
At the same time, insufficient attention to elements of
folk art in curricula, lack of methodological manuals
and teachers' qualifications in this area in some cases
negatively affect the effectiveness of this approach.
Therefore, in order to further improve the process of
teaching based on folk art, it is an urgent task today to
revise the content of education based on the national
musical heritage, introduce innovative educational
technologies and improve the professional training of
teachers.
In general, teaching based on folk art is a promising
direction with rich educational and methodological
potential, which corresponds not only to the
traditional, but also to the modern paradigm of music
pedagogy. By deepening this approach, important
steps will be taken towards achieving not only musical
literacy, but also spiritual maturity.
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