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THE PLACE OF NATIONAL AND FOLK MUSIC IN THE EDUCATION OF MUSIC
TEACHERS
Ikromova Mohizoda
Student of Kokand State Pedagogical Institute
Annotation
: The content of this article focuses on the study of experiences in providing future
specialists with theoretical and practical knowledge of Uzbek classical music, including maqoms, in
educational institutions operating at various stages of the continuing education system. Analytical
considerations are made on the specific aspects of musical education.
Keywords
: music, musical education, status, classical singing, traditional singing, research,
education, mourning, music, decoration, spiritual and moral quality, music culture.
INTRODUCTION
In the conditions of national independence, the formation of high moral and professional qualities in
future specialists has become an important and integral task of education in higher education
institutions. In modern society, education has become one of the most important areas of human
activity and is considered the main, leading factor of socio-economic development. The process of
training a future music teacher is a search for means and conditions that increase its effectiveness.
“Educating our children as independent thinkers, masters of modern professions, and patriotic
people with a solid theory of life is an urgent issue for us”[1] - says the President of the Republic of
Uzbekistan Sh.M. Mirziyoyev. Raising a truly patriotic generation that is independent-minded,
possesses modern knowledge, and has a solid theory of life requires, first of all, that pedagogical
personnel being trained in higher educational institutions be fully prepared for professional activity.
Because such qualities encourage future specialists to be creative and pave the way for them to
make a significant contribution to the socio-economic and cultural development of society through
their profession.
LITERATURE ANALYSIS AND METHODOLOGY
Considering the correspondence of maqams to the psychological states occurring in the human
psyche, it is advisable to create a mood appropriate to the song being studied in students before
studying each branch and folk song. Folk songs on the maqam path are created in accordance with
the various moods occurring in the human psyche. The maqams are created in a way that resembles
human life, social lifestyle and natural phenomena with their content and melody. This can also be
understood from the following thoughts expressed in the work of Najmiddin Kavkabiy Bukhari
(16th century) “Treatise on Music” [2]: “It is necessary to choose a suitable time to perform certain
maqams. The “Rohaviy” maqom should be performed before sunrise, “Ushshaq” after sunrise,
“Rost” on the eve of the afternoon prayer, “Iraq” during the afternoon prayer, “Buzruk” at sunset,
“Buslik” during the other prayer (the prayer that is performed before the afternoon prayer and
sunset), “Zangula” at sunset, “Navo” during the evening prayer, and “Isfakhan” at night” [3]. A
significant part of the musical works that are necessary for students to study in the curriculum within
the framework of traditional singing are maqom branches and classical folk songs. In the process of
studying them, students form spiritual and moral qualities - composure, seriousness, thoughtfulness,
taste and foresight. It also develops the skills to create a cheerful mood in accordance with the
current situation, but to avoid childishness. One of the enthusiasts of teaching students samples of
Uzbek classical music on the basis of music education in higher and secondary specialized
educational institutions, my teacher Qoldosh Mamirov, who gave me a lot of musical knowledge
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when I was studying for a master's degree, spoke about his work experience and described the
following: “In my work experience, I attach particular importance to the performance of classical
works by a group (choir). In this, I try to effectively use not only the vocal capabilities of the choir,
but also the words and nuances that are suitable for the voice of the choir. When teaching classical
works to future specialists, it is extremely important to achieve the softness of the voice, clarity of
the word, and the ability of the singers to sing in harmony with each other. The fact that I have been
singing folk songs since my youth and performing in national instrumental ensembles allows me to
correctly select students who are capable of performing classical music. After all, national songs
have their own unique laments and refrains, and performing them requires the performer to have
special qualities and abilities (Conversation held on April 23, 2006) [2:98].
DISCUSSION AND RESULTS
When working with a team, it is not enough to simply know classical songs. Perhaps the correct use
of the team's vocal capabilities will not only ensure the skillful performance of classical songs, but
also increase their attractiveness. In preparing future music teachers for pedagogical practice, it is
also important for them to thoroughly study classical songs. After all, classical works, along with
their impressive power, contain a folk spirit, and play an important role in educating not only
students, but also pupils on the basis of national values, instilling in them spiritual and moral
qualities that have been revered for centuries. The reason for the viability of classical songs is also
their conformity to the taste of the people, their recognition by the people. As a result of a logical
analysis of the essence of these requirements for the musical knowledge, skills and qualifications of
students, we can conclude that, firstly, they reflect the attention paid to the study of national
classical music; secondly, they take into account the opportunities for the formation of high artistic
taste in students on their basis. Effective organization of music education allows students to develop
the skills to correctly evaluate classical musical works, distinguish works with shallow content from
songs of high artistic quality, and objectively evaluate classical songs.
CONCLUSION
During the training process, the live performance of the teacher has a more creative effect on the
psyche of students. Therefore, singing and listening to classical melodies in live performance should
be the focus of the music teacher. It is also advisable for students to gradually develop skills such as
analyzing their content, understanding lamentations, laments and other decorations while studying
the works. In the educational process, characteristic sub-units that glorify a person, give him
strength, and awaken lyrical experiences in him are also studied
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RESEARCH & DEVELOPMENT
SJIF 2019: 5.222 2020: 5.552 2021: 5.637 2022:5.479 2023:6.563 2024: 7,805
eISSN :2394-6334 https://www.ijmrd.in/index.php/imjrd Volume 12, issue 02 (2025)
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