METHODOLOGY FOR TEACHING THE SUBJECT "HISTORY OF UZBEK MUSIC" IN MUSIC EDUCATION

Teaching the History of Uzbek Music is most effective when historical knowledge is built through lived musical experience rather than memorization of dates, names, and styles. This paper proposes an integrated methodology that combines cultural-historical inquiry with praxial learning: attentive listening, guided analysis, performance-based exploration, and community-oriented fieldwork. Uzbek musical heritage is approached as a dynamic system shaped by regional identities, court and urban traditions, ritual and devotional practices, Soviet cultural policies, and contemporary media. Special attention is given to maqom traditions—particularly Shashmaqom—as a core reference point for connecting musical structure, aesthetics, ethics, and social function. The method aligns content sequencing with developmental pedagogy, supports inclusive classroom practice, and uses assessment tools that measure historical understanding through interpretation and musicianship. The proposed approach is suitable for secondary and tertiary music programs and can be adapted to teacher training contexts.乌兹别克音乐史教学若以亲身音乐实践体验而非单纯背诵年代、人物姓名与音乐风格来构建历史认知，往往可达成最优教学成效。本文提出一种融合文化历史探究与实践本位学习的整合式教学方法论：涵盖专注聆听、引导式分析、基于表演的探究以及面向社区的田野工作。乌兹别克音乐遗产是一个动态系统，其形成受地域身份认同、宫廷与城市传统、仪式与虔敬实践、苏联文化政策以及当代传媒的共同塑造。研究特别关注木卡姆（maqom）传统，尤以沙什木卡姆（Shashmaqom）为核心参照，以此串联音乐结构、美学、伦理与社会功能。该教学方法论将内容编排与发展性教学法相契合，支持包容性课堂实践，并依托通过音乐诠释与演奏技艺来测评历史认知的评估工具。所提出的教学方案适配中等及高等音乐教育课程，亦可适配教师培训场景。