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PEDAGOGICAL FEATURES OF TEACHING STUDENTS THE ART OF CLASSICAL
SINGING
Muhammatova Ozoda Muzrabovna
Senior lecturer of the Department of "Music Education" of the Uzbek-Finnish
Pedagogical Institute
https://doi.org/10.5281/zenodo.15154254
Abstract.
The article discusses the issues of improving the professional preparation of
students through national classical singing, reveals the educational and creative aspects of
national musical art, and its importance in developing professional skills in students. The
main features of national classical singing are enriched with practical recommendations for
integrating their study into the system of vocational education.
Keywords:
classical music, singing, singing, musical heritage, students, professional
training, educational tool, pedagogical features.
Classical singing occupies a significant place in the musical heritage of the Uzbek people.
In addition to being the most important basis for the development of musical art, national
classical songs also have a high impact on the artistic, aesthetic, cultural, and spiritual
education of individuals, especially young people.
Studying examples of traditional singing in various genres belonging to the Uzbek folk
musical heritage, analyzing their ideological and artistic content, shows that they glorify the
Motherland, nature, human qualities such as honesty, hard work, love for mother nature,
people, peace, justice, and the idea of mobilizing oneself for the prosperity of the Motherland.
Such examples of art with artistic, mature value play an important role in educating the
younger generation as a well-rounded person. This places a great responsibility on the
shoulders of future music teachers in the field of music education of higher pedagogical
education and the professors who teach them.
The high attention paid to the art of national classical singing in our country has also
been a priority in the policies implemented by our President Sh. Mirziyoyev. The Decree “On
Measures for the Development of Maqom Art” of November 17, 2017 [1] proves our words.
In the process of music lessons in secondary schools and in extracurricular activities,
students can be introduced to the songs and instrumental performance patterns that are part
of the Uzbek maqom, and by teaching the art of national classical singing, they can develop
respect for and interest in the heritage of folk music, learn them with love, and develop skills
and qualifications to continue this art in the future.
Uzbek classical singing has always been distinguished from the music of other peoples of
the world by its deep meaning, complexity and perfection, and the incorporation of
incomparable traditional customs. This musical creativity embodies the past traditions of our
people, their rich and deep history. Each of their examples is a echo of history. Therefore, the
more we study them, the more we understand their secrets, the more new facets they reveal
and reveal their unique features.
National classical singing plays an important role in improving the professional training
of students. Not only the creative, but also the educational aspects of the art of singing are
important. By studying classical singing in the areas of higher education music education,
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students not only deepen their vocal and musical knowledge, but also acquire important
professional skills such as pedagogical culture, teaching methods, and pedagogical skills. The
role of the national musical heritage in the upbringing of the younger generation, the
professional training of students to teach them to students were discussed.
Developing students' creative thinking, increasing their interest in national art, and
combining traditional performance methods with modern teaching methods are important
factors in professional training.
Students should also have significant professional training in the notation system,
melodic and stylistic features of national classical singing, performance techniques, and their
connection with the competencies necessary for professional activity. Practical exercises and
experiments have shown that the introduction of traditional singing elements into the
professional training process helps to increase students' creative abilities, strengthen their
self-confidence, and also help to form a pedagogical culture.
The folk way of singing consists of methods and means of song performance that have
arisen on the basis of local, historical and artistic traditions. Therefore, we need to be able to
distinguish song performance in different regions from each other. Currently, there are four
local styles of song performance in Uzbekistan: Bukhara-Samarkand, Khorezm, Fergana-
Tashkent, Surkhandarya and Kashkadarya. Below we will dwell on the most defining features
of the sound of each of these regions.
Bukhara - Samarkand traditional song performance is distinguished by its local classical
style, primarily by its bright color. The uniqueness of these oases is determined by the
dynamic rhythms of the dialect and the ornamentation and silence of the song being
performed. In addition, a unique collective song performance accompanied by a solo singer is
widely popular here.
In the vicinity of Bulungur and Nurota, the art of Bakhshi, which performs folk epics
accompanied by a dombira, occupies a special place. Singing in the strait forms their
performance path. The singing style in these regions is characterized by producing sound
through the abdomen (ishkami) and the nose (binnigi). The Bukhara-Samarkand style of
performance is close to Tajik music in terms of melody.
Khorezm traditional song performance differs from the Bukhara-Samarkand style of
song performance in its local style and charm, melody, melody structure and musical
interpretation of the song being performed. In addition, the singing here is distinguished by
the playfulness of musical performance, a tendency to dance. In terms of style, Khorezm song
performance is somewhat similar to Turkmen and Azerbaijani music. The uniqueness and
local difference of Khorezm folk music can also be noted in the performance of folk epics.
While epics are performed in other regions of our republic in a recitative-singing style, the
Khorezm style of doston singing is accompanied by an ensemble of musical instruments such
as bulamon, gijjak, dutar, tor, soz (harmon) and doira. In short, the Khorezm way of singing is
characterized by producing sound using the throat and nose.
The distinctive features of the Fergana Valley's singing style include songs with colorful
themes and women's songs called "inner songs", as well as "large singing". At the same time,
as in other regions, the solo singer's singing and group singing are highly developed here.
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In Kokand and Margilan, professional maqom performers called hafiz occupy a leading
position. Fergana Valley singing is distinguished by the use of the stomach and throat to
produce sound.
The folk singing path of Kashkadarya and Surkhandarya is distinguished from other
regions. In these regions, the leading place is occupied by bakhshis, who perform folk epics to
the accompaniment of the drum. The path of performance is considered to be "gulligi"
(throat).
The integration of classical singing into the process of vocational education leads to the
following results: 1. Development of performing skills - students improve their vocal, breath
control, pronunciation and expressive abilities by mastering traditional performing arts; 2.
Formation of an aesthetic approach to art - Through the national musical heritage, students
understand the inner meaning of art, which develops their artistic thinking; 3. Improvement
of professional skills - Through the art of singing, students perfectly master such professional
aspects as music pedagogy, stage movement and repertoire selection; 4. Development of
creative thinking - Students form their own creative style and strive to search for new
interpretations; 5. Strengthening a sense of respect for cultural heritage - National classical
singing increases the attention of the younger generation to national culture and values.
National classical singing plays an important role in improving the professional training
of students. This art form serves not only to improve vocal skills, but also to form stage
culture, artistic expression, creative thinking and professional competencies. Through
classical singing, students' interest and respect for national art increases, and their creative
research is stimulated. Combining traditional musical methods with modern pedagogical
approaches allows students to master their profession and develop independent creative
skills. This will allow them to effectively organize their pedagogical activities in the future
educational process. Therefore, it is necessary to more widely introduce elements of national
classical singing into the professional education process. This will not only improve the
performing skills of future music teachers, but also serve as an important factor in preserving
the national musical heritage and passing it on to future generations.
Foydalanilgan adabiyotlar/Используемая литература/References:
1.
Resolution of the President of the Republic of Uzbekistan Shavkat Mirziyoyev “On
measures for the further development of the Uzbek national art of maqom” dated 17.11.2017
No. PQ-3391.
2.
Resolution of the President of the Republic of Uzbekistan Shavkat Mirziyoyev “On
additional measures for the further development of the sphere of culture and art” dated
02.02.2022 No. PQ-112.
3.
R.S.Abdullayev. Uzbek classical music - T.: Yangi nashr, 2008.
4.
A.Jabborov, S.Begmatov, M.Azamova. History of Uzbek music. - T.: Science and
technology 2018, 204 pages.
5.
I.Kudratov. Traditional singing. Textbook Samarkand 2022
