THE USA JOURNALS
THE AMERICAN JOURNAL OF INTERDISCIPLINARY INNOVATIONS AND RESEARCH (ISSN- 2642-7478)
VOLUME 06 ISSUE11
224
https://www.theamericanjournals.com/index.php/tajiir
PUBLISHED DATE: - 19-11-2024
DOI: -
https://doi.org/10.37547/tajiir/Volume06Issue11-15
PAGE NO.: - 224-226
THE ISSUES OF CONTINUITY IN
PEDAGOGICAL ACTIVITY IN THE FIELD OF
MUSIC
Tashpulatova Iqbol Sabirdjanovna
Associate Professor, Department of Maqom Instrumental Performance, Uzbekistan
Yunus Rajabiy
Tashkent State Conservatory of Uzbek National Music, Uzbekistan
INTRODUCTION
The main goal of state policy in the Republic of
Uzbekistan is to improve the quality of education
through the application of innovative and modern
pedagogical technologies. This aims to develop
independent thinking, cultivate talented youth
with a broad worldview, and shape their
personalities. The modernization of education is
an urgent and indispensable process in this regard.
At the same time, the development of effective
teaching methodologies in music lessons deserves
commendation.
As outlined in the Law on the “National Program
for the Training of Specialists” of the Republic of
Uzbekistan, education should aim to prepare
individuals who are free, independent thinkers in
a democratic society. The role of a highly skilled
teacher is crucial in nurturing such individuals. A
specialist music teacher is not just a professional
musician but also a cultural figure capable of
promoting art and spreading advanced musical
traditions in society. Additionally, the music
education field prepares students for practical
work as teachers of music culture.
When discussing pedagogical activity in the field of
music, it is essential to define the term "music
education" and its historical background. The
history of music education and training is closely
tied to the emergence of humans on Earth, the
RESEARCH ARTICLE
Open Access
Abstract
THE USA JOURNALS
THE AMERICAN JOURNAL OF INTERDISCIPLINARY INNOVATIONS AND RESEARCH (ISSN- 2642-7478)
VOLUME 06 ISSUE11
225
https://www.theamericanjournals.com/index.php/tajiir
formation of pedagogy, and the development of
music culture as an essential part of human life.
Notably, the famous scholar and statesman,
Kaykovus, in his didactic treatise Qobusnoma,
provides guidance on music, specifically for
musicians and instrumentalists in Chapter 36,
titled "On Vocal and Instrumental Performance." In
this chapter, he states: "Never tread the difficult
path, as not all exercises and melodies should be
played in the same manner, because people are not
the same, and their temperaments differ. Thus, the
masters of this art have described the science of
music in such a way that it can cater to different
listeners, depending on the setting, the occasion,
and the nature of the gathering." This pedagogical
approach to music emphasizes adjusting
performance style to suit the audience and context.
As mentioned, pedagogical writings on music have
existed since ancient times. Scholars like Farabi,
Jami, Husayni, Changi, Ibn Sina, and Kavkabiy have
left us with numerous treatises on music, which
continue to be valuable pedagogical resources
today. These methods have been passed down
through generations and serve as a bridge
connecting the past with contemporary teaching
practices.
In addressing the issues of music pedagogy, the
specific methods of music education and the
pedagogical experiences of prominent musicians
play an important role. Every branch of music
pedagogy,
such
as
performance,
music
composition, listening, musicology, and teaching,
has its unique characteristics, and these
characteristics must be embodied by the teacher.
However, it is important to note that these skills do
not emerge on their own; they must be acquired
through education and practice. These pedagogical
foundations ensure that students acquire
necessary pedagogical knowledge, skills, and
competencies.
The level of music education is directly related to
the pedagogical skill of the teacher. A good teacher
must not only possess musical talent and the
technical skills to perform music but also be
knowledgeable about relevant pedagogical
theories and teaching methods. The famous
composer I. Gofman stated: "It would be better if a
student does not rush to play an instrument until
they fully understand each note, its sequence,
rhythm, harmony, and all the markings in the
score. After all, playing an instrument is the
expression of what one knows with the hands."
The development of musical memory, thinking,
imagination, listening skills, voice, rhythm, and
performance technique are all integral to music
pedagogy. Many examples of these principles can
be found in music pedagogical practices.
For example, in the 1930s, V. A. Uspensky, in his
music pedagogical works, created piano pieces
based on maqom and folk music for two and four
hands, such as "Muhammadiy Iroq," "Miskin,"
"Samoyi Dugoh," "Usmoniya," and "Rajabiy."
Today, the works and efforts of great masters in
our field
—
such as Hoji Abdulaziz Rasulov, Mulla
Toychi Toshmukhamedov, Abdusoat Vahobov, and
Domla Halim Ibodov
—
have significantly enriched
the repertoire of students in our department.
These and many other unnamed mentors have laid
the foundation for the development of Uzbek
national music art through their unique schools
and creative activities.
CONCLUSION
In conclusion, one of the primary responsibilities
of every music teacher is to approach each student
individually, maintain their interest in music, and
nurture their talent. Teachers must select
appropriate repertoires that match the student's
age, voice, psychology, and technical abilities.
Whether teaching individually or in ensembles, the
correct methodology must be applied to ensure
engaging and meaningful lessons.
THE USA JOURNALS
THE AMERICAN JOURNAL OF INTERDISCIPLINARY INNOVATIONS AND RESEARCH (ISSN- 2642-7478)
VOLUME 06 ISSUE11
226
https://www.theamericanjournals.com/index.php/tajiir
Initiative
and
high
professionalism
are
indispensable elements of music pedagogy. The
development of music culture, a person's first
steps into the world of music, and the perfecting of
their musical talent are all facilitated by dedicated
music pedagogues who have created their own
schools, performance styles, and artistic identities.
REFERENCES
1.
President Sh. Mirziyoyev, "Concept of
Decisions," official website.
2.
The National Encyclopedia of Uzbekistan,
Volume I, Tashkent, 2000.
3.
"The Song of Youth" by G'ulom Qo'chqorov,
Tashkent, 1986.
4.
School Repertoire by A.A. Yuldashev, Fergana,
2020.
5.
School Repertoire by O.K. Mamirova, Fergana,
2020.
6.
Music Pedagogy by Rauf Qodirov, Tashkent,
2018.
