Abstract
This article examines the role of the ghijak in the teaching of Eastern maqom. The ghijak is one of the oldest bowed instruments of Central Asia and occupies an important place in maqom performance practice. The study analyzes its pedagogical significance in mastering maqom modal systems, developing intonational hearing, performance skills, and national musical thinking. Particular attention is paid to ghijak repertoire, master-apprentice traditions, and contemporary teaching methods in music education.
In the musical culture of the peoples of the East, the art of maqam emerged as one of the highest expressions of artistic thought and, through centuries of historical development, evolved into a highly sophisticated musical system. Shashmaqom, recognized as the greatest example of Uzbek classical music, represents the continuation of these ancient traditions, embodying the aesthetic ideals, spiritual values, and creative thinking of the Uzbek people. The instrumental and vocal sections of Shashmaqom are distinguished by their complex modal structure, diversity of rhythmic patterns (usul), and rich performance practices.
Traditional folk musical instruments have played a crucial role in the development of the maqam tradition and in its transmission from one generation to another. Among these instruments, the ghijjak occupies a special place. Owing to its timbre, which closely resembles the human voice, its wide expressive capabilities, and its lyrical, singing quality, the ghijjak has become an indispensable component of maqam performance practice.