INTEGRATING THE UZBEK MAQOM TRADITION INTO UNDERGRADUATE VOCAL PEDAGOGY

Abstract

The global evolution of music education necessitates a shift towards pedagogical models that embrace pluralism and transcend the hegemony of the Western classical canon. This article examines the theoretical and practical dimensions of integrating the Uzbek Maqom tradition, a monumental art form of Central Asia, into the undergraduate vocal curriculum. It posits that such integration moves beyond the inclusion of exotic repertoire, demanding instead a foundational engagement with the tradition's unique technical, aesthetic, and cultural systems. The article delineates the core challenges inherent in this endeavor, including the cultivation of a specialized vocal timbre, the mastery of microtonal intonation (ta’lins), and the profound interpretation of classical poetry within complex rhythmic cycles (usuls). In response, a phased pedagogical framework is proposed, guiding students from initial aural immersion and technical exercises to the sophisticated synthesis required for authentic performance. The argument concludes that successful integration fosters not only functional vocal bilingualism but also cultivates greater ethnomusicological awareness, artistic flexibility, and cultural sensitivity in students, ultimately enriching the scope of contemporary vocal pedagogy and preparing musicians for a globalized artistic landscape.