Training of Students of Music Education on The Basis of Folk Creativity

Аннотация

This article discusses the issues of effective use of folk art samples in the professional training of students of music education. The importance of folk art samples as a means of musical and spiritual education, their role in understanding national identity, forming aesthetic taste and involving students in creative activities is analyzed. The article discusses the integration of educational programs based on folk melodies and songs, epics and maqoms into the educational process, their impact on educational effectiveness on a scientific basis. Keywords: Folk creativity, music education, folk melodies and songs, epic, national education, methodological approach, creativity, aesthetic taste, curriculum. its integration into the music education process. At the Introduction: In our country, the organization of same time, the role of the educational process based education based on national and universal values is one on folk art in expanding students' cultural and aesthetic of the priority tasks of today. Especially in the field of outlook, developing creativity, and enriching national music education, there is an increasing need to form musical thinking is scientifically substantiated. future specialists as fully mature, professionally competent, and aesthetically developed individuals by METHODOLOGY relying on our cultural heritage and unique examples of The effectiveness of any educational process depends folk oral art. From this perspective, the effective use of on its methodological foundation. In the issue of the didactic, communicative, and educational potential educating students in the field of music education of folk art - in particular, folk melodies and songs, epics, based on folk art, methodological approaches ensure maqoms, and folklore genres - in the educational the formation of musical knowledge, cultural process is one of the current scientific and competence, and creative thinking in a way that methodological problems. In the fields of music combines them. In this study, the organization of pedagogy theory and practice, the model of education teaching folk art based on a competency-based based on folk art is recognized as a powerful factor in approach in accordance with modern requirements the formation of students' musical thinking, cultural was theoretically and practically substantiated. identification, and national identity. In this process, the The activity-based approach was chosen as the main use of modern educational concepts such as methodological basis in the scientific work. Because it constructivist pedagogy, a competency-based is through this approach that the student is ensured to approach, integrative methods, and an activity-based transform from a learner into an active participant and approach is of great importance. Through such creator, to work directly with folk art, to deeply approaches, students in the field of music education assimilate musical samples through analysis, singing master the use of folk art not only as a source of and staging them. In this case, the analysis of folk knowledge, but also as an innovative pedagogical songs, fragments of maqom, epics and samples of resource that allows them to be practically applied in traditional music, revealing their educational and their professional activities. This article analyzes the aesthetic properties becomes the main didactic task. methodological and pedagogical foundations of folk art Also, special attention was paid to the integrative as a musical-educational resource and highlights the approach in the research. By teaching the musical, mechanisms for forming student competence through literary, historical and cultural layers of folk art in an International Journal of Pedagogics 33 https://theusajournals.com/index.php/ijp International Journal of Pedagogics (ISSN: 2771-2281) interconnected manner, a deep and multifaceted personality of the teacher, his creative potential and worldview is formed in the student. This, in turn, serves attitude to folk art are decisive factors in teaching folk to understand national identity, strengthen socio- music. If the teacher himself cannot perform folk cultural identity and develop professional competence. melodies and cannot explain their inner meaning, the student will not accept them from the heart. Therefore, The research methods used were observation, it is necessary to develop separate methodological interview, musical listening, creative laboratory directions for increasing the professional and cultural exercises, experimental testing, questionnaire and competence of the teacher in teaching folk art. content analysis. Through these methods, changes in the perception and performance of folk art samples, At the end of the discussion, it can be said that teaching motivational and emotional changes in the minds of on the basis of folk art should be considered not only as students were identified during the educational a means of imparting musical knowledge, but also as an