MUSIC AS A WAY OF SELF-REALIZATION: A DIALOGUE WITH PROFESSOR ALEXANDER KLUJEV
Tayron Achury (T.A.). Dear Professor Klujev, you are a well-known philosopher and musician. Your scientific works have been published not only in Russia, but also in the USA, Italy, Spain, Germany, Romania, Greece, the Czech Republic, Turkey, India, China, Pakistan, the UAE, and many countries of the former USSR. You are the author of an original model of the philosophy of music. In this interview, I would like to discuss with you your model of the philosophy of music, as well as your understanding of the connection between music and pedagogy, the role of music in shaping the human experience.
So, Professor Klujev, the main question is: could you tell us what the essence of your model of the philosophy of music is?
Alexander Klujev (A.K.). Dear Dr. Achury, I consider my model, in general, as the result of the development of Russian philosophy of music. Russian philosophy of music originated approximately in the 15th century and has been constantly evolving. What is the specific understanding of music by Russian philosophers? Russian philosophers interpret music (each, of course, in their own way) as the most perfect means of saving a person. I have summarized the ideas of Russian philosophers about music in my three books: “10 Articles on Russian Philosophy of Music” (published in 2023 in St. Petersburg by the F.M. Dostoevsky Russian Christian Humanitarian Academy), “Russian Philosophy of Music: 2010s and 2020s Articles (Transl. from Russ.)” (published in 2023 in the Czech Republic, in Ostrava, in English by Tuculart Edition & European Institute for Innovation Development) and “Russian Philosophy of Music: Articles of the 2010–2020s” (published in 2024 in Moscow by Progress-Tradition). About my model.
I called my model “The New Synergetic Philosophy of Music”. It has two components: theoretical and practical.
In the theoretical part, the model is based on the combination of two principles: classical (old) synergetics, developed by the German physicist Hermann Haken, and hesychasm, the core of the Orthodox doctrine. In the practical part, it demonstrates how this synthesis can be applied in music. Let me explain.
Classical (old) synergetics, which emerged in the 1970s, is an interdisciplinary field of science that studies the self-organization of systems in the world. It has been established that systems evolve from less organized (ordered, stable, and reliable) to more organized (ordered, stable, etc.).
Hesychasm affirms the unity of the energies of the bodily-mental-spiritual man and the energies of God, which appears as the growth of man’s energies in the sequence: bodily – mental – spiritual. Such growth is carried out as a result of the reading of the Jesus, or the Smart Prayer, by a person.
And the conjugation of classical (old) synergetics and Hesychasm is connected with the fact that in the process of prayer, the Christian Hesychast carries out (and in our days!) communication with all people, humanity. Such communication contributes to the emergence in every layman of a desire for unity with God in the world. This desire is expressed in the bodily, mental, and spiritual activation of the individual in the world, which leads to the development of the world according to the principle of self-organization of systems. In my opinion, the self-organization of systems is represented by the following sequence: nature, society, culture, art, and music. In my view, music is the highest development of the world, which is influenced by human development, and it is also the embodiment of unity.
In practice, the work I offer is based on the realization that music is a powerful means of uniting a person with the Supreme Being, God. I believe that music therapy is the process of bringing a person closer to the Supreme Being through music. I have developed a music therapy technique that I hope will help people ascend to the Supreme Being (I have conducted music therapy workshops using this technique in Russia, the United States, and Finland for eight years).
The model is presented in detail in my monograph “The Sum of Music” (2021), published in Russia, as well as in separate articles published in Russia and abroad.
T.A. You are a teacher. Tell me, can the musical-pedagogical process become a model of the pedagogical process in general, or is it only a special process? And another question: how can the musical-pedagogical process influence the pedagogical process?
A.K. Let’s first define what a pedagogical process is. In my opinion, a pedagogical process is a person’s introduction to the world. This introduction takes place through three sequential actions: sensory contact, knowledge, and practical mastery, which are derived from the sequential manifestation of the three components of human consciousness: feelings, reason, and will. But here’s what’s interesting: these actions make themselves felt in musical pedagogical work in a very distinct way, acting as a succession of musical upbringing, musical education, and musical training (of course, mostly in theory, not in practice, where they are closely intertwined).
Musical upbringing is the development of the ability to experience music as a prerequisite for a proper response to music.
B.M. Teplov writes extensively about musical experience in his famous book “Psychology of Musical Abilities”. According to Teplov, “the specific feature of musical experience is the experience of the sound fabric as an expression of a certain content. This criterion is the main and primary distinguishing feature between ‘musical experience’ and ‘non-musical’ experience of music”.
Musical education is the expansion of musical ideas, predetermining the awareness of music as an original art form.
B.V. Asafiev made a huge contribution to the improvement of musical education processes. Asafiev proposed a heuristic method in this direction based on the technology of “music observation”. According to the renowned musicologist, “from the analysis of … the properties of (music. – A.K.) and from the installation of provisions that help to understand its “content”, it was possible to conclude that in order to correctly approach (understanding. – A.K.) music … it is necessary not so much to teach it or study it as a scientific discipline, how much is the observation (intelligently organized) of the changes and transformations of the material taking place in it”.
Finally, music training is preparation for working with musical material (especially important in a professional environment).
This work requires the manifestation of musical and creative will. The patterns of this manifestation are discussed by the famous German pianist and teacher K.A. Martinsen. Martinsen refers to the musical-creative will as the sound-creative will (schöpferischer Klangwille) and explains that it is composed of six distinct modes: “Pitch-Wille (Tonwille)”; “Sound-Wille (Klangwille)”; “Line-Wille (Linienwille)”; “Rhythm-Wille (Rhytmuswille)”; “Form-Wille (Gestaltwille)”; and “Forming-Wille (Gestaltungswille)”.
Thus, musical upbringing, education, and training appear to be three consecutive stages (stages) of a person’s introduction to music, but given that music is the perfect embodiment of the world (according to the model of the “New Synergetic Philosophy of Music” proposed by me), it is obvious that introduction to music can be considered as a model of introduction to the world, and therefore, as a universal form of pedagogical activity. I have tried to show this pedagogical potential of music in my article “Musical Upbringing, Education, and Training in Phenomenological Understanding”, published in the journal “Philosophical Sciences” in 2019.
T.A. You have noted the phenomenological focus of your article on music pedagogy. Could you please elaborate on the role that phenomenology plays in the understanding of music? Additionally, I would like to ask you about the significance of a music teacher’s subjective experience in their pedagogical work.
A.K. Yes, of course, the phenomenological approach is crucial for comprehending the principles of music. What is phenomenology? Let me start with the term. The term phenomenon (Greek: φαινόμενον, from φαίνεσθαι – to appear, to be visible, also – to seem) in a general sense means a phenomenon given in sensory contemplation. This term is the basis of the concept of phenomenology, which means the study of phenomena. It was first used by the German philosopher Johann Heinrich Lambert in his work “The New Organon” (1764).
According to Lambert, phenomenology is a theory of appearance (Theorie des Scheinens). Phenomenology helps us “break through the appearance (the blindness of appearance) to the true”. As Lambert writes, the concept of appearance, both in its literal meaning and in its original source, refers to the impressions that perceived things (Dinge) evoke in our senses. This concept applies to all the senses, and since it applies to all the senses, it is only natural that this concept would be used to describe “the impression that each sense provides us with through the perception of objects, such as when we want to say ‘heat’ or ‘sound’ (and so on)”. In other words, phenomenology is a way to understand the essence of a phenomenon.
In musicology, this involves immersing oneself in the sound layers of music. What are these sound layers?
Many renowned researchers have written about the sound layers of music, including Karl Dalhaus and Nikolai Hartmann in Germany. The Russian-American scientist Genrikh Orlov devoted a section to this topic in his remarkable book “The Tree of Music”. I have proposed my own approach. What is it?
First of all, I have noted that for greater accuracy, when discussing the sound layers of music, we should be talking about the sound layers of an individual piece of music. I distinguish three such layers:
the first layer is defined by rhythm, meter, tempo, timbre, and dynamics;
the second is determined by intonation;
the third is recognized by means of mode (key), melody, and harmony.
Further. I believe that the listed sound layers, in the order of their enumeration, are the successive stages of revealing the center of a musical work. In accordance with this, the elements that fix these layers: rhythm, meter, tempo, timbre, dynamics, intonation, mode (key), melody, and harmony, are the successive elements that reveal this center.
As a result, it is the harmony that illuminates the center of a musical composition. (I believe that this “picture” can be found in any music, as the progression of rhythm, meter, tempo, timbre, dynamics, intonation, mode (key), melody, and harmony has always determined the structure of musical compositions.)
According to my understanding, this center is the Spirit, the Spiritual energy.
Thus, one cannot but agree with the famous Swiss conductor and music phenomenologist Ernest Ansermet that “music was found before the sounds”. And, by the way, Ansermet emphasizes: “the meaning of music… is manifested in every (musical. – A.K.) work”.
I develop my ideas about the sound layers of a musical work in the article: “On the Tetrasphere of the Musical Language”, published in the journal “Bulletin of Musical Science” in 2021.
And about the subjective experience of communicating with music… I am a pianist, graduated from the Leningrad (now it is called St. Petersburg) Conservatory. Gave concerts. I remember at one of my performances, and I played Bach, Beethoven, Mendelssohn, played in some intoxicating me delight: absolutely free – the fingers as if by themselves “flown” over the keyboard (!), I, or rather someone inside me, began to ask questions: what is happening? why are people gathered? where do the sounds fly? and in general: what is music? You see – the living phenomenology of sound…
T.A. Tell me, Professor, does music only represent reality, or does it also shape it? How does music contribute to the construction of human existence?
A.K. Dear Dr. Achury, what is reality? There is an empirical understanding of it, and there is a mystical understanding…
You know, in medieval Europe, there was a debate about whether universals were objective substances or, on the contrary, abstractions formed in the process of human cognition. Essentially, this was a debate about what reality is. There were those who argued that general concepts have a real existence and precede individual things and objects, and they were called realists (John Scotus Eriugena, Thomas Aquinas). There were also those who denied the ontological significance of universals, arguing that general concepts do not exist in reality but only in the mind. These were known as nominalists (Roscelin, Ockham). There were also those who took a middle position in this debate, arguing that there is something common in individual objects that can be expressed by a concept. These people were known as conceptualists (Pierre Abelard and Duns Scotus).
I spent a long time trying to decide which of these three camps I belonged to, but I eventually realized that I was a realist in the medieval sense. The fact is that the realists claimed that general concepts exist in three forms: “before things” in the divine mind, “in things themselves” as their essence or form, and “after things”, that is, in the human mind as a result of abstraction and generalization. For me, general concepts live in things themselves, in individual musical compositions. It is in this sense that I speak of the human discovery of God through music.
Regarding the construction of human existence by music, I will say this. Of course, music builds a blueprint for human existence, moreover, it constantly improves this blueprint, even when a person listens to the same musical creation. This is the movement of man towards God in music. As a person develops, he finds in music an ever–increasing unity with God, which constantly raises him and brings him to a new level – the plane of existence. What does this mean? And this means a change in the temporal parameter of human existence, the movement of a person through time into eternity.
This process has been reflected in the comments of 20th-century music theorists and practitioners. For example, according to the musicologist K. Dalhaus, who devoted the section “On the Temporal Structure of Music” in his book “Music Theory in the 18th and 19th Centuries” to this topic, music exists “in time”, even though time is irreversible. “Irreversible time” is not present in the immediate musical experience. This “constant”, “homogeneous”, “empty”, “quantum” time, or “world time”, is not consciously perceived or experienced during listening; it remains an “external moment of music”. However, “present” time is a “lived” time in which the past and future are synthesized, while measurable time, with its distinct past and future, remains secondary. This effect is also noted by the composer B.A. Zimmerman. He believes that music has an external time, which can change, – the tempo of a piece of music, and an internal time, which is almost constant, – the experience of the person (listener) of the organizational development of a piece of music. The internal time is more important. As Zimmerman explains his position, “time in a piece of music is organized in two ways: on the one hand, by choosing a specific external measure of time (tempo. – A.K.)… on the other hand, by choosing a specific internal measure of time (experience. – A.K.)… “The ‘inner’ as well as the ‘real’ measures are determined by the inner musical consciousness of time, which acquires a regulatory meaning in this sense”.
T.A. Dear Professor, there are two powerful approaches to music that have developed in Germany: Hegel’s and Nietzsche’s. How do you view these approaches, and which one is closer to your model?
A.K. Dear Dr. Achury, in order to understand Hegel’s and Nietzsche’s approaches to music, it is necessary to first understand the essence of Hegel’s and Nietzsche’s teachings. Let me start with Hegel’s teachings.
As is well known, Hegel’s work that most fully expressed the philosophical system of the great German thinker was the book “Phenomenology of Spirit” (1807). In this work, Hegel focuses on the spiritual, leaving the material and non-spiritual aspects outside the realm of the science of the phenomena of the spirit.
In Hegel’s philosophy, the spirit evolves through three stages: subjective, objective, and absolute.
The Subjective spirit is the soul, the consciousness of an individual.
The Objective spirit is the “spirit of society as a whole”.
The Absolute spirit is the highest manifestation of the spirit, the eternally valid truth.
Thus, the subjective spirit precedes the objective spirit, and the objective spirit, in turn, precedes the absolute spirit.
Interestingly, Hegel did not write anything about music. Hegel’s thoughts on music are presented in his lecture notes, which were collected and published by his student, Heinrich Gustav Goto, under the title “Lectures on Aesthetics” (1835-1838), after the philosopher’s death.
From these materials, it is clear that for Hegel, music is a romantic art that expresses the subjective spirit (the soul of an individual). Hegel notes, “music is the spirit, the soul, that sounds directly to itself and feels satisfied in this listening to itself”. It is evident that Hegel, in the context of his philosophical system, did not highly regard music. This is evidenced, in particular, by the following statement by the thinker: “Musical talent is mostly manifested in early youth, when the mind is still empty and the soul has experienced little, and it can even reach a significant level before the artist has gained any spiritual or life experience. For the same reason, we often encounter significant virtuosity in musical composition and performance alongside a lack of spiritual content and character”.
As for Nietzsche, it is considered to be his main work, in which he outlined the essence of his teaching, the text “Thus spoke Zarathustra” (1885). In this essay, Nietzsche presented his main ideas: “God is Dead”, “Superman”, “The Will to Power”, “Eternal Return”, and others. Nietzsche’s ideal is a strong (or rather, unbridled) personality that destroys socially accepted norms of behavior and morality.
Nietzsche wrote a lot about music, which is understandable: Nietzsche was a composer, a pianist, and, most interestingly, he considered himself a composer. Nietzsche’s works on music are well-known, including “The Birth of Tragedy from the Spirit of Music” (1872, 2nd edition 1886, with the preface “An Attempt at Self-Criticism” and the subtitle “Hellenism and Pessimism”) and “The Wagner Case” (1888). Many vivid opinions about music can be found in Nietzsche’s book “The Will to Power” (which is a collection of Nietzsche’s notes, compiled and edited by his sister, Elisabeth Förster-Nietzsche, and Peter Gast in 1888).
For Nietzsche, music is a wild element that unleashes the energy of self-destruction and self-renewal. Nietzsche associate’s music with the ancient Greek god Dionysus, the god of wine and revelry. According to Nietzsche, contemporary German music, which he believed had a romantic origin (notably, like Hegel, Nietzsche emphasizes the romantic aspect of music), should become Dionysian. Here is how he writes about this in “The Experience of Self-Criticism”: Romantic music must be overcome by Dionysian music: “What kind of music would it be that would no longer be of romantic origin, like German music, but of Dionysian origin?” I will also quote Nietzsche’s statement about music from his work “The Will to Power”: “We dare to be absurd and childish again… in a word, ‘we are musicians’”.
So, when it comes to music, Hegel emphasizes its spiritual nature (at the level of the subjective spirit), while Nietzsche emphasizes its sensual and bodily nature. You asked which of Hegel’s or Nietzsche’s ideas about music aligns with my philosophy of music.
I answer: Hegel’s.
T.A. What, in your opinion, is the main problem for music in the 21st century, are we in a period of expansion of musical consciousness or in a crisis of musical consumerism?
A.K. In my opinion, music has no problems. Music was, is and will be. Music exists forever, even before sounds (remember the statement by E. Anserme, which I cited). About “eternal music” wrote Ferruccio Busoni, Maurice Ravel, Nikolai Metner… It’s not the music that has problems, it’s the person who has lost touch with music. Let me remind you that in the 5th and 4th centuries BC, there was a philosopher named Diogenes of Sinope in Ancient Greece, who would walk around in broad daylight with a lantern, saying, “I’m looking for a person”. Isn’t it time for someone with a hearing aid to walk around different concert venues, saying, “I’m looking for music”? And you know, it seems to me that to look for music is to look for a person in music, so that the intention of Diogenes was very and very prophetic…
Today, as a rule, there is no human being in music, and moreover, he is deliberately removed from it.
All this began with the work of A. Schoenberg, then it intensified enormously in connection with the organization of the international summer courses of new music in Darmstadt (1946), where many composers began to hone their ways of removing a person from music: P. Boulez, K. Stockhausen, B. Maderna, L. Nono, L. Berio, J. Cage, J. Xenakis, M. Kagel, V. Rome, M. Feldman, B. Fernihow, H. Lahenman, B. Furrer and others.
Today, the method of removing a person from music proposed by H. Lachenman is particularly popular. What does Lachenman do? Here is a description of one of his works, the Concert for Percussion Air (1968-69): “During the play, the soloist uses an incredible number of instruments, from a glass Japanese gong… to regular timpani and other drums (including a string drum, or “lion’s roar”…), as well as… electric guitars and other instruments. Orchestral musicians at various points (use. – A.K.) … toy frogs, which are played by both brass players and string players in the final bars of the composition. The croaking of the toys at the end may create a nostalgic atmosphere… Whatever the real purpose of these toys, they… provide a wonderful contrast to the other surprising sounds of the final sections of the piece: the brass instruments bubbling with water in their horns, the electric doorbells being operated by a pair of special performers, and so on”.
In modern Russia, there are many composers who have adopted Lachenman’s approach, including A. Manotskov, O. Raeva, A. Filonenko, B. Filanovsky, S. Nevsky, D. Kurlyandsky, and others. Perhaps the most diligent follower of Lachenman’s instructions is D. Kurlyandsky.
Here, for example, is what Kurlyandsky says about his composition Vacuum pack (Vacuum Packaging), 2015, written for voice, trombone, piano, glockenspiel, violin, and electronics: “At some point, I felt that it wasn’t enough for me to compose just combinations of sounds or even just sounds themselves… On the first page, here’s what happens. The vocalist leans her ear against one of the four glasses in front of her and listens. The glasses (make. – A.K.) noise of different heights (the effect of a seashell). She (repeats. – A.K.) the tone she heard and as if she puts it in another glass – she sings into it. From the exhalation, the glass slightly steams – the condensation later in the play becomes an independent material with which the musicians work. ‘Putting’ the sound in the glass, the singer listens again to another glass, picks up a new sound and carries it on. At the same time, each glass is sounded and put on a separate column…”.
I have written about all of this in detail in my article “Game of Music: How Long?”, which was published in the materials of an international scientific conference held at the Gnessin Russian Academy of Music in 2020.
As for the second part of your question, how can we describe what is happening in music today: is it an expansion of musical consciousness or a crisis of musical consumerism? I believe that these are two sides of the same process. I would describe this process as the dispersion of musical consciousness.
Walter Benjamin wrote about the lack of concentration, and hence the triumph of mass (effortless) art, in his essay “The Work of Art in the Age of Its Technical Reproducibility” (1936). More recently, Jean Baudrillard has written extensively about the total commodification of art (and even the racketeering it engages in). In this regard, his collection of articles and interviews, “The Artistic Conspiracy” (1995), has gained significant attention.
T.A. And the last question, dear Professor. Tell me, what do you see as the prospects for the development of music in the coming decades?
A.K. You know, I formulated this question for myself and tried to answer it almost 30 years ago in my article “On the Directions of Music Development in the 21st Century” (1998). Unfortunately, what I came to in this article remains relevant today.
I have identified seven directions for the development of music in the 21st century (just as you have identified seven questions for me).
The first of these, and, as I see it, the most significant, is the emergence of new technical means for creating and performing musical compositions based on the further development of the principles of electronic, in particular computer-based, musical sound.
Indeed, the current 21st century is a century of consistent growth in scientific and technological capabilities, which will undoubtedly affect the technical means of musical art, including, of course, electronic means. As K. Stockhausen explained this process, the use of technology enhances a person’s expansion in the world, “because with the help of glasses, a small tape recorder, and similar items, a person can see and hear better, and they begin to view them as part of their body”.
The second direction of music development is the further movement in the field of interaction of all kinds of musical art.
This conviction is based on the study of contemporary musical works that belong to various musical genres, styles, etc., as well as on the statements of composers about the current trend towards the unification of various manifestations of musical art. For example, Sergei Slonimsky stated: “There is a process of convergence between different movements and musical systems, where the ‘predisposition’ or ‘affiliation’ of a composer to a particular direction is erased”. Or here is the opinion of Krzysztof Penderecki: “Today… the chance to survive has music written in a natural manner, synthesizing everything that has happened over the past few decades”.
The third direction of music evolution must be considered the consistent expansion of the sound range of musical art, in other words, the increasingly active musicalization of the sounds of living and non-living nature included in the fabric of musical compositions.
According to Evgeny Nazaykinsky’s figurative expression, “new questions are being added to the old ones, such as whether musique concrete, which originated in France in the middle of the century, as well as the so-called ‘graphic’ and ‘conceptual’ music, and many other branches that grew on the trunk of musical history in the 20th century, are considered music”.
The fourth direction of music’s evolutionary movement is its increasing desire for unity and interconnection with other arts.
As Moses Kagan notes, “the importance of expanding music’s interactions with other arts lies in the fact that synthetic artistic structures meet the need for a multifaceted and holistic representation of human existence”.
The fifth direction of music’s development is the complexity of its language.
One example of this complexity is the increased tonal complexity of musical compositions. For example, according to Edison Denisov, “new music has expanded, and the old tonality has entered the modern system as one of the simplest elements”. The use of the so-called mutation technique in music is equally significant. According to K. Stockhausen, “now… for the first time in music… a musical figure gives rise to a new one that is genetically related to it, but this relationship is hidden and not obvious. The process of change (of the musical figure) is constant. This technique of transformation, the technique of mutation, is completely new…”.
The sixth direction of music development is the increasingly active inclusion in musical compositions of what is traditionally the opposite of sound: silence.
As you know, one of the first people to use silence when creating a piece of music was J. Cage. For example, I will cite his well-known piano piece “4’33″”, in which the pianist does not extract a single sound from the instrument. Similar essays are created by a student of J. Cage J. Brecht. Here, for example, is Brecht’s composition “Water Jam”. This work, which resembles a suite, consists of a large number of independent pieces written on separate sheets of cardboard. Some of these pieces have titles such as “String Quartet”, “Flute Solo”, and so on. However, the performance is highly unique, with the musicians not playing but merely shaking their hands in the “String Quartet” and dismantling and reassembling the flute in “Flute Solo”.
Finally, the seventh direction of music evolution is the increasing role of the personality of the composer and performer in the musical creative process.
The last direction is especially important: it is this direction that will allow us to bring the human being back into music. After all, what is a human being? It is not his body, which some philosophers, aesthetes, and cultural scientists are so concerned about today (following Nietzsche, I call them Nietzschebrods, or Nietzscheans in spirit!), but his consciousness, i.e., his personality. In general, the encounter of man with God in music is nothing other than a multidimensional interpersonal process, in which God also acts as a Person – the Person of God (yes, the Orthodox God has a Person, as all Russian philosophers, and especially Lev Karsavin, have argued). This is how I describe (build) this process in my book The Sum of Music: Initially, the Personality of God influences the personality of the composer (contributing to the composer’s idea of a musical composition), the personality of the composer influences the personality of the performer (determining the performer’s choice of a musical composition for interpretation), and finally, the personality of the performer influences the personality of the listener (engaging the listener in the interpreted musical composition). As a result of this multi-step influence of the Personality of God on the personality of the listener, the listener’s personality ascends in the following sequence: listener’s personality – performer’s personality – composer’s personality – Personality of God.
I believe that this is the process we should keep in mind when we talk about music as a path to self-realization.
T.A. Thank you for the interview, Professor Klujev.
Tayron Achury is a Colombian philosopher, Doctor of Psychology (PsyD). Teacher at the National Open University of Distance Education (UNAD), Bogotá, Colombia.
Author of the books: “Democracy and Terrorism” (2004), “Ethics, Culture and Education in Colombia” (2012), “Ethical Foundations of Theory and Political Action” (2017), “Post-Truth, Humanisms and the Imaginary” (2021), “Introduction to the History of Philosophy” (2022).
He is also the author of poems, short stories, novels. For ten years, he was the director of the university radio program “Palabreando con Sofía”, a symbolic space for philosophical and social education that became an important pillar in the popularization of philosophy at UNAD.
Currently, he runs the YouTube channel “Ethos filosófico”, where he continues to promote critical thinking and ethical education in new digital formats. Alexander Klujev is a Russian philosopher, musician, musicologist, musicotherapist. Doctor Habil. in Philosophy, Full Professor at the Russian State Pedagogical University named after A.I. Herzen, as well as a Leading Researcher at the Russian Institute of Art History.
Author of books: “Music and Life: about the place of musical art in the developing world” (1997), “The Ontology of Music” (2003, 2010), “Philosophy of Music” (2004, 2010), “Music: The Path to the Absolute” (2015), “The Sum of Music” (2017, 2021), “10 articles on the Russian Philosophy of Music” (2023), “Russian Philosophy of Music: 2010s and 2020s articles (Transl. from Russ.)” (2023), “Russian Philosophy of Music: Articles of the 2010–2020s” (2024).
Member of the editorial boards and editor-in-chief of the following journals: “Philosophical Sciences”, “Questions of Cultural Studies”, “Annales of the Zubov Institute”, “Medicine and Art”, “Credo New”, and others.
Ecology is a crucial branch of science that deals with the relationships between living organisms and their environment. In Uzbekistan, a country located in Central Asia with a diverse natural landscape that includes deserts, mountains, rivers, and fertile valleys, ecology plays a vital role in ensuring sustainable development, public health, and environmental protection. The importance of ecology in Uzbekistan has grown significantly in recent years due to the increasing threats posed by climate change, desertification, water scarcity, and industrial pollution. This article explores the ecological situation in Uzbekistan, the key challenges, and the measures taken to improve environmental sustainability in the country.
Ecological Diversity and Natural Resources of Uzbekistan
Uzbekistan is rich in biodiversity and natural resources. It is home to more than 27,000 species of flora and fauna, including some endangered species like the Bukhara deer and the Saiga antelope. The country’s landscape includes the Kyzylkum Desert, the Tien Shan and Pamir mountain ranges, and the fertile Fergana Valley. Major rivers like the Amu Darya and Syr Darya have traditionally supported agriculture and human settlements.
However, these natural resources are under threat due to poor environmental management in the past, excessive water usage for agriculture, deforestation, and overgrazing. The Aral Sea crisis is one of the most tragic ecological disasters in the world and a major example of how mismanagement of resources can lead to long-term environmental damage. Once the fourth-largest inland sea in the world, the Aral Sea has almost completely dried up due to the diversion of its feeding rivers for cotton irrigation. This has led to increased salinity, dust storms, loss of biodiversity, and negative health impacts on the local population.
Climate Change and Its Impact
Climate change is one of the most pressing ecological issues in Uzbekistan. The country is experiencing rising temperatures, reduced precipitation, and an increase in extreme weather events such as droughts, floods, and heatwaves. These changes have a direct impact on agriculture, which is a key sector of the Uzbek economy. Cotton and wheat, two major crops, are particularly vulnerable to water shortages and changing weather patterns.
Moreover, climate change is accelerating desertification. Large areas of formerly arable land are turning into deserts due to overuse, lack of proper irrigation techniques, and high soil salinity. According to environmental experts, more than 60% of Uzbekistan’s territory is affected by desertification, which poses a serious threat to food security, rural livelihoods, and ecological balance.
Water Management Issues
Water scarcity is another significant ecological challenge in Uzbekistan. As a double landlocked country with a mostly arid climate, Uzbekistan depends heavily on the Amu Darya and Syr Darya rivers for its water supply. However, due to inefficient irrigation systems, outdated infrastructure, and transboundary water disputes with neighboring countries, water availability remains limited and poorly managed.
In some regions, the salinity of water has increased to dangerous levels, affecting both agriculture and public health. Groundwater depletion is also a growing concern, especially in the western regions like Karakalpakstan, where people face severe water shortages. Addressing water-related ecological problems requires better international cooperation, modern irrigation techniques, and water-saving technologies.
Air and Soil Pollution
Uzbekistan faces serious air and soil pollution problems, especially in urban and industrial areas. Cities like Tashkent, Samarkand, and Navoi are experiencing increased air pollution due to the rise in vehicle emissions, industrial activities, and coal-based energy production. In rural areas, the excessive use of chemical fertilizers and pesticides has degraded soil quality and affected the ecosystem. The legacy of the Soviet-era industrial policies has left behind numerous polluted sites and untreated waste. For example, uranium mining in the past has caused radioactive contamination in some regions. Improper waste disposal and lack of recycling programs further worsen the situation. These problems not only harm the environment but also pose a direct threat to the health of the population.
Government Policies and Environmental Reforms
In recent years, the government of Uzbekistan has recognized the importance of environmental protection and has taken several steps to improve the ecological situation. In 2017, the State Committee for Ecology and Environmental Protection was established to coordinate national efforts for environmental monitoring, protection, and policy implementation. Several environmental laws and strategies have been adopted, including the Strategy for the Transition to a Green Economy (2019–2030).
The government has also launched afforestation campaigns to combat desertification and dust storms. Millions of trees have been planted, especially in the dried-up Aral Sea bed. Projects to improve waste management, promote renewable energy, and modernize water usage are being implemented with the support of international organizations such as the United Nations, World Bank, and European Union.
Eco-Education and Public Awareness
Another essential aspect of ecological improvement in Uzbekistan is raising environmental awareness among the population. Eco-education is being integrated into the school curriculum, and environmental NGOs are working to educate citizens about recycling, water conservation, and sustainable living. Programs such as “Eco-Schools Uzbekistan” are helping students and teachers become active participants in environmental protection.
Public campaigns, community clean-up events, and green projects are helping to build a culture of environmental responsibility. The increasing use of digital platforms and media to spread ecological messages has also contributed to greater awareness, especially among the youth.
International Cooperation and Future Outlook
Uzbekistan is actively cooperating with international partners to tackle environmental challenges. The country is a member of several global environmental agreements, including the Paris Climate Agreement, the United Nations Convention to Combat Desertification (UNCCD), and the Convention on Biological Diversity (CBD). Cross-border cooperation on water resource management with countries like Kazakhstan, Kyrgyzstan, and Tajikistan is also critical for regional stability and sustainability.
Looking ahead, Uzbekistan must continue to prioritize ecology in its development agenda. This includes investing in clean energy, enforcing environmental regulations, supporting scientific research, and empowering local communities to participate in conservation efforts. A holistic, inclusive approach that balances economic growth with environmental sustainability will ensure a healthier and more prosperous future for the country.
Conclusion
Ecology is not just an academic subject or a policy issue — it is a matter of survival and prosperity. In Uzbekistan, where the environment directly affects agriculture, health, and the economy, protecting ecological balance is more important than ever. The challenges are many, but so are the opportunities. Through informed policy-making, community engagement, and international cooperation, Uzbekistan can build a greener, more sustainable future for generations to come.
My name is Shabbona Abdurashidova, daughter of Umidjon, a passionate and ambitious student born on February 22, 2009, in Chinaz district, Tashkent Region, Uzbekistan!
I currently study at School No. 20. I have earned several educational grants and awards, and I attented Eco-IT camp and Central Asia youth Eco camp
With a deep interest in leadership, public speaking, and writing, I continue to work hard toward achieving academic excellence and inspiring others in my community.
Abstract: This article discusses the development of the tourism sector in our country and the formation of a sense of patriotism among the population. We all know that the future begins with history. Therefore, we need to form a sense of patriotism in the minds of young people. There are many historical places in our country, each of which holds a unique meaning. Is it possible to form a sense of patriotism through travel? -Of course, because through travel, you can explore not only historical places, but also the miraculous nature and culture of our heavenly country. This awakens a sense of gratitude in us, because our country is so peaceful and prosperous that we witness a miracle wherever we go. Therefore, we need to create opportunities for travelers in our country and create amenities for those who do not have the opportunity.
Keywords: Travel, reforms, patriotism, historical and cultural sites, youth engagement.
The article discusses the problems of forming a sense of patriotism through travel and their solutions. Today, there is a low level of deep understanding of real historical places, national heritage and values of the country among young people. The concept of patriotism is often perceived as theoretical knowledge, and there are few cases of feeling it with the heart.
Also:
Young people’s travel opportunities are limited.
School and college trips are based solely on formality.
There is not enough interest in local tourism.
Parents do not travel with their children, instead they pay too much attention to their phones and social networks. Or they do not have enough money for travel. Travel depends on two things: time and money. Because working people usually do not have time to travel, or even if they do have time, they do not have enough opportunities to travel. Another problem is the lack of interest in historical places among young people. They mainly want to go on extreme and entertainment trips. Therefore, the majority of visitors to historical and cultural places are older people. Below we will find solutions to these problems:
1. Strengthening domestic tourism – Systematically organizing excursions to the historical, cultural and natural attractions of our country. In particular, annual travel plans should be introduced in schools, colleges and universities.
2. Organize trips in an educational direction – During each trip, a sense of patriotism can be awakened by sharing information about the history of the country, stories about local heroes, and historical monuments.
3. Creating a youth movement under the slogan “See the beauties of the homeland with your own eyes” – encouraging young people to promote their country on social networks, introducing tourist attractions of Uzbekistan through photos and short videos.
4. Creating a culture of family travel – Parents traveling with their children instills in them a sense of love and appreciation for their country early on.
5. The “Patriotic Path” project – Targeted trips to historical sites in each region, commemorative events, cultural evenings, and meetings with local heroes should be organized.
Through these, it is possible to interest young people in historical and cultural places and thus form a sense of patriotism through travel. Every young and old person should love and protect their homeland.
List of used literature:
1. Mirziyoyev Sh.M. “New Uzbekistan – the realization of the dream of the people and the homeland.” – T.: Uzbekistan, 2022.
2. Karimov IA “High spirituality is an invincible force.” – T.: Ma’naviyat, 2008.
3. “Tourism and Youth Education” – Publication of the Ministry of Culture and Tourism of the Republic of Uzbekistan, 2021.
4. “Domestic tourism is a source of national pride” – “History of Uzbekistan” magazine, 2023, issue 1.
5. Ziyovuddinov M. “Patriotic Education and Modern Approaches” – T.: Teacher, 2020.
6. www.ziyonet.uz – Lesson plans on patriotism and tourism
7. Resolutions and decrees of the President of the Republic of Uzbekistan on youth (2021–2024)
Jumaniyozova Nazokat Olim qizi was born in Tuproqqala district of Khorezm region. Currently, I am a 2nd year student at the Surkhandarya regional Denov Entrepreneurship and Pedagogical Institute, majoring in tourism and hospitality.
The morning light illuminated the edge of the yard, and Ravshan aka, as always, headed for the barn. Carrying a bundle of hay in his hand, he entered the roof. But… he couldn’t believe his eyes: the yellow cow was gone!
“Maybe it got loose and wandered around the yard,” he consoled himself. But no matter how much he searched, he couldn’t find it. It was as if there was no trace, it had disappeared.
“Jamila!” he called out anxiously. “Who tied the cattle yesterday?”
Jamila answered in a low voice:
“Lutfulla dad, I tied them. But… there’s no cow?”
At that moment, Rustam Baba appeared at the door of the yard. His face was worried, and his eyes were filled with sadness.
“Did you hear that?!” A thief has appeared in the village!
— Oh no! — said Lutfulla. — They stole Akmal’s five chickens!
— Astagfirullah! — said Ravshan aka with a heavy sigh. Could it be that our cow has also fallen into the hands of thieves! They say that thieves are masters of their craft…
Lutfulla looked at the ground and whispered:
— Dad, not even a fly can enter our yard! How can a thief get in? After all, an ox’s jawbone is hung above the tandoor. If a person enters, he will immediately be thrown into the eye…
— Now is not the time for this! — said Ravshan aka, getting angry. The cow that trusted me with my secrets will not come back!
— More stings, hot peppers, eye thorns… — Jamila glared sharply at Lutfulla again. — These protect the yard from misfortunes. Our grandmothers have repeatedly warned us. Oh, don’t interfere in something you don’t understand.
— Ravshan aka, who locked the gate yesterday? — Jamila asked again.
Then Robiya slowly approached:
— Excuse me… I forgot. When I woke up in the morning, the gate was open. I couldn’t say that my brothers had gone out for a run with their friends…
Rustam Baba, he started talking again.
— Someone stole your cow. But don’t rush: someone has been watching your house for a long time, someone did it… They say, “It’s easy to catch a thief from the field, but it’s hard to catch a thief from home.”
Then she turned to Jamila:
— Jamila, hurry up and go to the police station. Only someone who knows would have done this.The morning had not yet dawned, the night was still hanging over the earth, and it was drifting over the village like heavy thoughts. Jamila Yanga, with the anxiety that was tearing at her heart, set off for Sister Zulfiya’s yard. The gentle breeze on the street caressed her face, intensifying the wind of anger in her heart. Sister Zulfiya’s yard was already full of people, everyone was filling their patience cup with their own problems. Jamila Yanga waited. Her legs were shaking, her heart was pounding. Finally, the door opened with a “clack”…
— Ola stole your cattle… your own relative, — said the policeman, breaking the silence that reigned in the yard. — He has been watching you for a month. The day your gate was left open, he accomplished his intention. Now he will sell the cattle to someone who came from Karachay at the Wednesday market. If you don’t believe me, go with your husband and see for yourself. Now, leave your vows and leave.
Jamila Yanga’s heart sank, and the blood drained from her face. She went out into the street and whispered in a daze:
— Really? My own liver, the one I support… How many people have we troubled for this cow… What if her father hears this?
— No, no… — she said to herself. — It’s not for nothing that they say, “A person who steals a needle or loses a cow from someone is suspected”…
The next morning, Ravshan aka and his son Lutfulla set off for the cattle market. They both scattered in two directions and began to look for the cattle.
— Dad, what if what the polvin said turns out to be true?
— Never mind, my son. If it’s true, this will be the day when the earth will crack and we will be buried. We can’t walk with our heads held high.
In a far corner of the market, Ravshan aka saw a young man holding a cow tightly next to someone who had come from Karacha. He approached cautiously. His instincts were right — it was Jamila Yanga’s nephew.
— This cow is mine. I’m sorry, it’s not for sale. Get out of here quickly! — Ravshan aka said, swallowing his anger.
Lutfulla ran over when he saw his father leading the cattle.
— Dad! Did you find the thief?
— Yes, I did.
— Then show me?
— It’s better that you don’t know you, my son…
— Dad, how many people have we bothered…
— What can I say now? Should I say that my wife’s nephew was stolen? Let the closed pot remain closed.
— Dad, he will be caught one day anyway. Even if you hide it, he will steal again. There is no use in hiding it!
Ravshan aka looked at his son with love. Suffering and the heavy burdens accumulated over the years were visible in his eyes.
— You are still young, my son. One day, you will understand what I have done, — he said, frowning.
When they returned home, Shukr Baba had already arrived, sipping tea. He seemed to have noticed everything.
— But your goods were found in the market. Who stole them? You had half the village investigated. You took up people’s time. You shamelessly suspected even young men who were strangers and came from abroad… Tell me, who was the thief?
Ravshan aka averted his eyes and answered with difficulty:
— I am very tired, Shukr Baba…
— Understandable, so my suspicions were correct. That’s it, be healthy. From now on, don’t forget the gate lock. After all, they say, “The copper of a copper pot will come out, and the smell of the one who closes it will come out.” Everything will be exposed one day anyway.
And Lutfulla, with a broken heart, apologized to all his fellow villagers…
…Six months passed.
While someone was untying the rope of a black ox in the dark courtyard of Zarif aka, who lived in the village of Kiyokli, the owner’s son Azamat caught him and handed him over to the police. This was the same man – Jamila Yanga’s nephew. He swallowed hard and confessed to all the thefts he had committed.
— This is probably what it means when a thief steals and sets off on a journey, and in the end he gets caught…
That day, Shukr Baba said this at a neighborhood meeting:— Ravshanjon kept the secret for six months, but the truth was still revealed. Ravshan deceived so many people. However, the thief was his brother-in-law’s son. Because always be careful of the person who enters and exits your house… It’s not for nothing that they say, “Hold on to yourself, don’t hold your neighbor a thief” _ Shukr Baba…
Abdisattorova Khurshida Suvon qizi was born on November 9, 1997, in the village of Olmazor, Chirakchi district, Kashkadarya region. She is currently a third-year student of Sports Journalism at the University of Journalism and Mass Communications.
Her articles have been published in the newspapers Hurriyat and Vaziyat, as well as on the websites Olamsport and Ishonch. She is also a participant of the international scientific-practical conference titled “Future Scientist – 2025.”
If a person sets one goal in their life, no force can stop them….
1. The goal is to never give up.
2. The goal is to not forget the initial goal.
You tried to do something… But it didn’t work out… it didn’t work out, never complain, be patient. Every failure should encourage you. Get up and try. The result will be better than you expected.
We know that no matter how big the door is, it can be opened, and this is, of course, an effort. You should achieve such success that those around you will talk about your victories, not yourself. Only then will your willpower and effort develop even more…
Throughout my career, my students have asked me one question a lot.
—Teacher, who and what inspires you the most?
— I can get motivation from everyone and everything.
But throughout my career, there are magic words that wake me up every morning and help me teach my students…
Excuse me, if necessary, your colleague, who you have worked with for thirty years, sometimes rushes through the school threshold, even when the distance between you is only 10-15 meters, saying, “Okay, I’ll see you when I get inside,” but he’s waiting for me, he’s always waiting, now and in the future…
You might be wondering, what are these words? These are magical and shining words like the sun…
The words “WELCOME” written on the forehead of our school…
Tashkent region. Piskent district. Primary school teacher of secondary school No. 14 ASHIROVA DILRABO ERMATOVNA.
Sean Lee is an emerging artist whose work spans drawing, photography, and cartooning, focusing on themes of stress relief and emotional expression. Sean’s art channels personal experiences, offering visual narratives that resonate with viewers seeking solace and connection. When not creating, Sean is an avid rower, having been part of a rowing team since seventh grade, where teamwork and physical discipline fuel his creativity and balance his daily life.
