THE MASTER–APPRENTICE SCHOOL IN TRADITIONAL VOCAL ART: A COMPARATIVE ANALYSIS OF NATIONAL PERFORMANCE STANDARDS, ORAL TRADITION, AND MODERN INTERPRETATIONS
Keywords:
traditional singing, master-apprentice tradition, oral traditionAbstract
This article examines the master-apprentice school in Uzbek traditional vocal performance as a key mechanism for preserving national performance criteria, oral transmission, and maqom-based artistic thinking. Particular attention is given to the fact that traditional singing is transmitted not merely through vocal technique, but through embodied artistic practice including poetic interpretation, rhythmic sensitivity, melodic development, stage ethics, and stylistic refinement. The study comparatively analyzes traditional and modern interpretations of vocal heritage in the context of institutional education, concert performance, and media representation. It argues that while contemporary formats may expand visibility and accessibility, the artistic legitimacy of such interpretations depends on preserving the internal logic of oral-professional tradition. The article concludes that the ustoz-shogird model remains the principal cultural and pedagogical foundation for continuity in Uzbek traditional singing.
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