Integrating tradition and pedagogy in Uzbek vocal music education

Abstract

The transmission of Uzbek national vocal music, an art form encompassing the classical Shashmaqom, regional folk genres, and contemporary compositions, stands at a critical juncture in its pedagogical evolution. The central challenge for higher education lies in reconciling the deeply ingrained, holistic master-apprentice (ustoz-shogird) model with the demands of a standardized, curriculum-based university system. This article examines the philosophical and practical dimensions of this integration. It posits that successful pedagogy must move beyond a mere coexistence of old and new methods toward a conscious, reflective synthesis where each informs and strengthens the other. Drawing on ethnomusicological theory and extensive fieldwork within Uzbek conservatories, the article analyzes the core principles of traditional transmission - including oral-aural immersion, relational learning, and the cultivation of artistic intuition (fe’l) - and explores how these can be structurally and meaningfully embedded within modern academic frameworks. The discussion addresses the reconceptualization of curriculum design, assessment strategies, and the teacher’s role, arguing that such integration is essential not only for skill acquisition but for nurturing the culturally-informed musicianship required to sustain the tradition’s vitality in a changing world.