Vocal pedagogy in the academy integrating Uzbek traditional practices

Abstract

The evolving mandate for a globalized and culturally responsive music education necessitates a critical expansion of vocal pedagogy beyond its Western bel canto foundations. This article examines the transformative impact of integrating Uzbek traditional vocal practices, specifically the classical Maqom, into the academic voice curriculum. It argues that this integration is not merely additive but fundamentally challenges and enriches core pedagogical methodologies. The analysis focuses on four key areas of transformation: the reconceptualization of vocal tone to encompass a focused, straight-toned timbre and microtonal inflection; the development of supplemental aural training to navigate fluid pitch systems; a deepened engagement with text that treats classical Sufi poetry as the structural source of melodic and rhythmic life; and a reimagined performance practice centered on the lecture-recital model. The article concludes that this holistic approach fosters vocal versatility, aural sophistication, and profound cultural literacy, ultimately producing more adaptable and intellectually engaged artists equipped for the demands of a pluralistic musical world.