INTEGRATING SHASHMAQOM TRADITIONS INTO UNIVERSITY VOCAL PEDAGOGY

Abstract

The Shashmaqom tradition of Central Asia, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity, represents the apex of Uzbek classical vocal art. However, its integration into the standardized, credit-based framework of university vocal pedagogy presents profound epistemological and methodological challenges. This article argues that meaningful integration requires more than the addition of Shashmaqom repertoire to syllabi; it demands a pedagogical reorientation that respects oral-aural transmission, the spiritual concept of tavze, and the intricate relationship between poetic metre (aruz) and melodic mode (maqom). Drawing on fieldwork at the State Conservatory of Uzbekistan and regional music colleges, this study examines three core areas of tension between traditional usta-shogird (master-apprentice) education and modern institutional structures: notation versus orality, assessment versus holistic mastery, and stylistic authenticity versus academic standardization. The article proposes a blended pedagogical model wherein Shashmaqom is taught through a spiral curriculum, aural banks, and embodied practice, while still fulfilling university credit requirements. Ultimately, this integration is not merely a technical adjustment but a vital act of cultural sustainability that ensures the living transmission of Uzbek vocal heritage for future generations.