CONTEMPORARY INTERPRETATION AND EDUCATIONAL ISSUES IN UZBEK ACADEMIC VOCAL ART

The article analyzes the current state of academic vocal art in Uzbekistan, its historical development, institutional evolution (exemplified by the Department of Academic Singing and Opera Training at the State Conservatory of Uzbekistan), and globalization processes in vocal education. It examines the synthesis of national traditions (maqom, folk songs) with global vocal schools (Italian, Russian, German) in the context of independence and transnational pedagogy.

         Research Objective: To identify key stages in the formation and modernization of the Uzbek academic vocal school during the 20th–21st centuries, analyze institutional mechanisms (department, international cooperation), and substantiate a model of an open, transnational vocal education system that preserves national identity while integrating into the global musical context.

         Methods: Historical-analytical, comparative-typological, and institutional analysis based on archival data, works by Uzbek musicologists (S. Begmatov, I.G. Galushchenko, M. Hamidova), official conservatory materials, and observations of contemporary pedagogical practices (master classes, seminars, repertoire policy).

         Results: The evolution of the Department of Academic Singing from 1936 to the present is described: from the Soviet period (inclusion of soloists from the Alisher Navoiy Grand Theater) to post-Soviet reforms (integration of international methodologies). Key pedagogues and graduates who ensured international recognition of the Uzbek vocal school are identified. The transformation of a closed national model into an open transnational system through master classes, experience exchange, and implementation of digital technologies in training is demonstrated. A new vocal expressiveness combining Uzbek phonetics, makam intonation, and Western techniques (bel canto, dramatic lyricism) is substantiated.

         Scientific Novelty: For the first time, a model of transnational vocal pedagogy in Uzbekistan is systematically presented as a transition from an isolated national tradition to a globally competitive open system. The concept of the “Uzbek synthetic vocal style” (national intonation + global technique) is introduced, supported by analysis of institutional reforms and intercultural competencies.