METHODS AND TECHNIQUES FOR ORGANIZING MUSIC EXTRACURRICULAR ACTIVITIES IN GENERAL SECONDARY SCHOOLS

SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 195 METHODS AND TECHNIQUES FOR ORGANIZING MUSIC EXTRACURRICULAR ACTIVITIES IN GENERAL SECONDARY SCHOOLS G.D. Dostmukhammedova Independent Researcher, Jizzakh State Pedagogical University https://doi.org/10.5281/zenodo.17538651 Abstract. This article examines methods and techniques for using music clubs to enhance the professional development of secondary school students. Keywords: music, education, school, student, club, professional training, instrument, singing, art. Introduction. It has been scientifically established that the teaching of the subject "Organization of Music Clubs," which is part of the music education program at higher education institutions in the republic specializing in pedagogy, demonstrates the need for a fundamental reform and rethinking of its content. General education schools in the republic offer a variety of instrumental, singing, and subject-specific music clubs: music, choral, vocal, traditional singing, pop singing, folklore, folk instrument orchestras, brass instrument, pop clubs, song and folk instrument ensembles, and others. Our research aims to create a diverse set of methodological support for enhancing the professional development of future music teachers. The most common types of music clubs, song and folk instrument ensembles, and the folk song and traditional singing ensembles that have developed from them, as well as music clubs, are the most common in the republic's comprehensive schools. The evidence clearly shows that ensembles playing national string instruments (the Kashgar rubab, dutar, Afghan rubab, tanbur, gijak, etc.) include another type of percussion instrument—the drum—while the folk instrument ensemble includes two types of instruments: the accordion and the chang-konun. Observations confirm that students show great interest in these two ensembles. In particular, an increase in the number of students wishing to learn to play folk instruments, along with traditional instruments, can be noted. Along with national instruments, which have a long history and are constantly evolving, performance training has acquired an organized form, including through clubs in comprehensive schools. The musical works performed in these clubs have a broad artistic impact and are a universally beloved art form. They foster the general culture of those involved in music, correct behavior, and make movements elegant, precise, beautiful, and graceful. Main section. By studying Uzbek folk music, students in comprehensive secondary schools become familiar with the rich artistic creativity of their people, their colorful melodies, rhythms, and costumes. The content of these musical works is also diverse: some describe the labor process, while others celebrate a life full of heroism and courage. Students in comprehensive secondary schools learn that music does not consist of meaningless melodies, but that each melody acquires its own meaning because it is subordinated to a specific idea, a specific composition. It is important to clarify that every third club in the republic's comprehensive secondary schools is organized around a folk instrument ensemble. This type of ensemble has a very ancient history and consists of a group of Uzbek instruments. Previously, these instruments included string SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 196 instruments, the kemancha, percussion instruments or dapa, doira, drum, and damla. Nowadays, all Uzbek folk instruments are widely performed in ensembles. Undoubtedly, students in comprehensive schools play a significant role in their popularization and widespread performance. In general, much attention is paid to the creation of music (by type) and singing (by genre) clubs in secondary schools. First, let's talk about music (by type). They are usually grouped as follows: 1. String (bowed) instruments: kashkar rubabi, afghan rubabi, dutar, soz, ud, tor, gidzhak, akon, ud; 2. Wind instruments: flute, sibizik, koshnay, trumpet, surnay; 3. Percussion instruments: doira, dap, daf, drum, drum; 4. Keyboard instruments: piano, accordion, button accordion, synthesizer. It goes without saying that it is impossible to recommend the use of folk instruments in all comprehensive schools according to a uniform system. Everything depends on the conditions in the comprehensive school. One comprehensive school may have a strong demand for one type of instrument, while other local comprehensive schools may have a greater interest or need for another. We emphasize that any music club's art education program should familiarize students with the music and its history. Therefore, we considered it appropriate to provide a brief historical overview of Uzbek folk instruments [2]. However, when preparing this work, we considered it appropriate to practice playing all instruments and vocal performance in an ensemble. To implement this activity, it is necessary to create ample opportunities within the teaching of the subject "Organization of Music Clubs" in higher education institutions. In other circumstances, it is advisable to introduce musical works of various genres during the entire course, performing the rhythm of a piece several times in a circle, familiarizing all club participants with its rhythmic specifics and developing their awareness and musical thinking. The performance of musical works studied during the club should not be limited to performances of composers' works. On the other hand, students in comprehensive schools have excellent opportunities to observe singing and performances of musical groups. Collective, orchestral, and ensemble performances also offer similar advantages. They develop the artistic thinking not only of the ensemble members and performers of the musical rhythm, but also of the audience. This will help students learn to listen, increase auditory sensitivity, foster the development of their senses and musical abilities, hone their artistic taste, and introduce them to various art forms. Music clubs can achieve all this if their work is structured according to a specific system and led by highly qualified, experienced specialists. It is widely supported by data that it must be acknowledged that the organization of music clubs in the republic's secondary schools, as well as the formation and functioning of instrumental, vocal, and scientific music clubs, including folk instrument and song ensembles, string players, percussionists, singers, and music club ensembles, is often perfunctory, and their overall number and level of performance do not meet established requirements. In most cases, folk instrument ensembles are represented by only three harmonies, one or two doiras, a kashkar-rubab, a dutar, a tanbur, an Afghan rubab, one string instrument, one reed instrument, a flute, an accordion, and others, depending on the student's performance, and in some cases, even one of these instruments. For example, orchestras and ensembles operating in comprehensive schools have only a limited number of musical instruments. Obviously, the performance activities of such ensembles, as well as their aesthetic and educational impact, are limited [1]. SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 197 It is generally recognized that such ensembles not only contribute to a one-sided increase in interest in music and art among club members and students but also often serve to reinforce it. Another main reason for this situation is a negligent attitude toward teaching this subject. Secondary schools often entrust the leadership of instrumental, vocal, and music clubs to random, unqualified individuals. There is a growing consensus that adding and managing literary, dance, and acting clubs to other clubs organized in the field of musical arts will help us achieve the desired results in practice. Unfortunately, in all of them, through music clubs, we were able to identify students' internal and external musical competencies not only in the context of those organized in secondary schools. In secondary schools, it is typically difficult to select clubs whose repertoire reflects the life of a secondary school and meets the pedagogical requirements for age-appropriate lessons. The melodies and songs performed by club participants are usually taken from kuichang programs—folk musical performances. This repertoire content in music clubs organized in secondary schools impacts the ideological and aesthetic development of students. This phenomenon has been the subject of criticism from the national musical community. The organizing an instrumental ensemble begins with selecting participants. When organizing a folk instrument and song club in a secondary school, folk instruments are played by those who can or want to learn to sing (tor, Kashkar rubab, Afghan rubab, dutar, tanbur, doira, flute, gidzhak, chang, etc.). When organizing a folk instrument and song club, it is necessary to determine the students' abilities and aptitudes. The clubs conduct various activities, including organizing the selection and listening of melodies and songs, providing theoretical information about music, and familiarizing them with the schedule for performances at concerts, creative evenings, etc. It is crucial to acknowledge that future music teachers in comprehensive schools are guided by performance traditions. Much depends on this issue. Students' musical performance depends on the desire and consent of their teachers. Students' musical tastes and desires determine the type of music they prefer. Therefore, addressing a number of issues in teaching the subject "Organization of Music Clubs" requires developing curricula for organizing each club according to the instruments they play. In art education, special attention should be paid to allowing students to naturally express their feelings through singing, music, and instrumental performance, as it is impossible to impose performance forms on students, which is difficult and common among adults [3]. In fact, this explains why ignoring these requirements leads to a decline in the number of people interested in a particular group of folk instruments. It is no wonder that cases of ignoring folk instrument performance traditions in music clubs in comprehensive schools in the republic are very rare. After all, students at music universities study traditional national instruments in music lessons in general education schools and in extracurricular educational institutions, such as children's music and art schools. During a methodological analysis of the teaching of music clubs, it was revealed that the only obstacle to mastering the subject was the lack of instruction tailored to students' interests and meaningful involvement in this activity. This refers to a small reed instrument, widely used in traditional or folk instrument ensembles. Such cases once again confirm the fallacy of ignoring the specifics of students' cognitive activity and their ability to express their feelings and experiences [4]. By studying research and drawing on our own practice, we concluded that this artificial barrier can only be overcome through close contact with students. More comprehensive information will SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 198 help properly guide students' creative abilities and guide them in the correct choice of a particular type of musical creativity—instrumental, vocal, or scientific. It is broadly accepted that students' musical performance abilities, and more broadly, their interest in musical genres, manifest themselves in surprising ways. Some are interested in a particular instrument, others in music, others in playing string or wind instruments, and still others in percussion. Among students, there are those who are ready to learn to play musical instruments. This conclusion has been confirmed, in particular, by experimental studies conducted in comprehensive schools. When determining the number of students proficient in musical instruments in the same comprehensive school, those who are ready to learn to play the harmonium and harmonic instruments stand out compared to other instruments. This conclusion, in particular, is that among future music teachers, various national instruments indeed constitute the majority. This is a consequence of the widespread popularization of performance activities. Uzbek folk instruments, national traditional instruments, and their means of influencing listeners, including students in comprehensive schools, are showcased in television and radio programs, demonstrating the inexhaustible musical potential of these instruments [5]. The most virtuoso accordion performers are M. Mirzaev, T. Alimatov, A. Ismoilov, and Abdulakhat Abdurashidov, renowned not only in Russia but also in many foreign countries. Music clubs are required to play samples of works performed by these performers [1]. Since these instruments form the basis of folk instrument ensembles, as in the folk instrument and song ensemble club, the work conducted in them does not differ significantly. However, this applies to the initial stage of the work; later, the differences will become more pronounced. After students are assigned to groups, they begin practical work: the work is conducted using a uniform methodology, introducing musical instruments, the specific features of musical instruments, theoretical knowledge of harmony, and the method of selecting melodies, as well as further developing the complexity of harmony groups with musical instrument performance. In general education schools, as part of organizing music clubs, it is necessary to organize musical instrument clubs with the help of professors and teachers working in the performing arts departments. In such cases, at events of various kinds, from student selection to discussions of demonstration performances, the best general education schools should strive to organize music programs and guide this art form from a specialist perspective. The club director's connection with the teaching staff is also crucial. This is explained by the fact that any musical, vocal, and artistic event is linked to the educational process. It depends on the club director how talentedly and tastefully they reflect the national customs and traditions of the Uzbek people, the vibrant aspects of their heroic life, in the organization and design of music clubs. When turning to folk music, an experienced leader studies folk customs and traditions in depth and shares them with club members before beginning work on the music. The ability to connect with music requires intellectual ability from a student. Having mastered the elements of music, students should understand melody and analyze and comprehend musical accompaniment. Furthermore, young musicians should visualize the flow of movement that creates a pictorial image, somewhat reminiscent of the explosion of arms and legs [4]. It is commonly understood that well-established clubs pay special attention to these aspects of introducing students to music. Specifically, as part of an introductory theoretical course, club members are introduced to the history of music and the flexibility required of the body's muscles, which is clearly illustrated using special diagrams. Work is also conducted on mastering individual SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 199 musical elements, etc. It is pertinent to mention that each music club, along with general concepts, has its own specific musical genres and types of work related to organizing instruction on a particular musical instrument. Based on the above, the following conclusions can be drawn: among the fine arts and music clubs operating in the republic's secondary schools, folk instrument and song ensembles, as well as performers on string, bowed, reed, and percussion instruments, and the music clubs created on their basis, are the most popular and well-loved. the main reason for the shortcomings in the work of music clubs is the low professional and pedagogical level of their leadership, the lack of a musical notation system, and the absence of national musical literacy. the selection of students for music clubs is poorly organized, and there are serious shortcomings in the pedagogical guidance of clubs and the development of their ensembles' repertoires, which is determined, above all, by the responsible attitude of club leaders to resolving these issues and the persistence of close relationships. dialogue between comprehensive schools and secondary comprehensive schools on attracting students to music clubs requires further popularization of experience in this area. The listed shortcomings also include the incorrect practice of appointing random individuals and nonspecialists as club leaders, as well as the lack of musical repertoire for students and the necessary pedagogical and methodological literature [5]. Conclusion. It has been conclusively determined that the creation of sample musical notations for the performance of works in instrumental performance clubs, as well as the schematization of musical instruments for music performance, is an important pedagogical issue. Positive experience has been accumulated in comprehensive schools, indicating that the overall state of music clubs in comprehensive schools is at a fairly high level. Based on this experience, the work of instrumental, vocal, and subject-specific music clubs, after providing them with experienced leaders and appropriate personnel, is as follows: 1). For the folk instrument ensemble and orchestra: - select and analyze various musical works, determine how they can be used to perform the selected work; - familiarize performers with the theme, character, rhythm, volume, and dynamic properties of the selected melodies; - inform performers about ways to divide the studied melodies into parts and work on these parts separately; - work on music as a whole, select well-known and popular musical works, inform performers about their content, volume, rhythm, dynamic properties, and educational value; - conduct work on studying the performance of a work, supervise the performance of works included in the repertoire, and organize joint exercises between performers and the folk instrument ensemble; - organize listening to samples of instrumental works of the Uzbek and fraternal peoples and work on performing the rhythms of the prepared musical work; - organize performances by instrumental ensembles and orchestras at concerts, evenings, meetings, etc. 2). In the context of instrumental performance: - providing information on harmony, introducing students to instrumental performance; - conducting work on studying simple melodies; - introducing students to the theoretical foundations of playing instruments; SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 10 OCTOBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 200 - providing information on the content, character, volume, and other characteristics of the melodies selected for study; 3). In the context of percussion performance: - providing general information on the history of percussion instruments and the creation of the doira ensemble; - providing theoretical information on rhythm, musical division, and other theoretical information; - teaching simple artistic instrumental melodies (individual); - achieving collaborative performance of musical rhythms by the ensemble; 4). In the music club: - providing general information about music and its history; - conducting work on practicing arm, leg, and head movements; - familiarizing students with schematic representations of individual musical elements; - familiarizing students with the transfer of musical elements to musical notation using selected notational diagrams; - conducting work on the synchronized performance of individual musical elements with a musical performance; - compiling a musical repertoire prepared for the activities of a comprehensive school and including it in the curriculum for the subject "Organization of Music Clubs." It is reasonable to assert that the proposed options for the content and organization of our research work on the topic "Organization of Music Clubs" can be considered final, and further research in this area is necessary to develop the scientific principles analyzed in the study for its deepening and improvement. This is a significant pedagogical, performance, and professionalpedagogical need. REFERENCES 1. Ibrokhimov O.A. "Uzbek Folk Musical Creativity" (methodological recommendations, part I), Tashkent, 1994. – P. 62. 2. Karomatov F.M. The Heritage of Uzbek Folk Music. // 20th Century. Terma, Yalla, Karsak, Introductory Article. Tashkent, G. Gulom Literature and Art Publishing House. 1985. pp. 223 3. K. B. Pandzhiev. Uzbek Folk Songs. Textbook. Tashkent, 2022. p. 274. 4. G. D. Dostmukhamedova. "Organization of Music Circles." Textbook. Tashkent, 2024. 5. G. D. Dostmukhamedova. "Methodology for Organizing Classes in a Piano Circle." Methodological Manual. Jizzakh State Pedagogical University "Publishing and Publishing Department", Jizzakh, 2025