METHODS IN RUBAB EDUCATION: THEORETICAL FOUNDATIONS AND PRACTICAL APPROACHES

Abstract

The article deals with the theoretical and practical grounds of teaching the Uzbek rubab in specialized music schools and in higher music education, where the aim is to form professional instrumental competence. We consider how traditional performance practice relates to present-day teaching, and look closely at the position of the instrument, plectrum technique, fingering, rhythmic coordination, sound production and musical interpretation. Particular weight is given to a gradual build-up of technique, to the choice of repertoire, to analytical listening and to work with each student individually. We also discuss the difference between knowledge that lives in traditional performance and the standardized methods of academic teaching. The methodological framework suggested here combines demonstration and imitation, technical exercises, analysis of repertoire, ensemble playing and the student's own practice. In our view, rubab teaching is effective only when technical accuracy goes together with a feeling for style and an awareness of the culture the music comes from. Bringing these elements together strengthens students as performers and helps to preserve and develop Uzbek instrumental traditions.

Keywords

rubab, Qashqar rubab, instrumental pedagogy, plectrum technique, music education, performance methodology, Uzbek traditional music.