PEDAGOGICAL FOUNDATIONS FOR UZBEK MAQOM AND FOLK SONG INSTRUCTION

Abstract

The systematic instruction of Uzbekistan’s two principal vocal traditions - the classical maqom repertoire and the diverse corpus of folk songs - demands a pedagogical framework that acknowledges their distinct aesthetic principles, transmission histories, and social functions while constructing a unified approach to vocal education. This article posits that effective pedagogy must be built upon three interdependent foundations: a philosophical-axiological foundation, which articulates the core values and artistic goals of each tradition; a music-theoretical foundation, which systematizes the distinct melodic, rhythmic, and poetic structures governing performance; and a methodological foundation, which translates these values and structures into a progressive sequence of teachable practices. Through an analysis drawn from ethnomusicological research and pedagogical practice, the article delineates the specific demands of maqom, with its emphasis on modal complexity, poetic profundity, and spiritual elevation, and contrasts these with the demands of folk song, which prioritizes regional dialect, narrative immediacy, and communal vitality. It argues that a coherent pedagogy must not treat these as separate tracks but must integrate their study, using the technical and expressive tools of one to illuminate the other, thereby cultivating a versatile and deeply informed vocal artist. The ultimate aim is to move beyond repertoire-centric teaching toward a principle-based education that equips students with the intellectual and practical tools to become authentic bearers of the tradition.