Developing pedagogical approaches for Uzbek music arts in higher education

Abstract

The integration of traditional Uzbek music arts into the structured environment of higher education presents a unique set of opportunities and challenges. Unlike Western classical music, which has benefited from centuries of codified pedagogical frameworks, or contemporary popular genres, which thrive on commercial and media-driven dissemination, Uzbek music remains deeply rooted in the master-student oral tradition known as usta-shogird. This article argues that for Uzbek music to survive, evolve, and maintain its authenticity within university settings, educators must develop hybrid pedagogical approaches that respect oral traditions while satisfying academic requirements for documentation, assessment, and systematic progression. Drawing on ethnomusicological research, existing conservatory models in Uzbekistan, and global best practices in world music pedagogy, this paper proposes a framework for teaching instruments such as the tanbur, dutar, and chang, as well as vocal genres including the Shashmaqom cycle, to university students. Key considerations include the role of transcription and notation, the balance between improvisation (badihakorlik) and memorization, the use of technology for archival access, and the training of educators themselves. Ultimately, the development of culturally sustainable pedagogy in Uzbek music arts requires not a rejection of academic structure but a thoughtful expansion of what “musical knowledge” means within the university curriculum.