NIRVANAMAN

My body is the border

between light and my shadow.

Sometimes I wear the lion,

sometimes the chameleon.

Where is my Nirvana Man,

the one who can quit crawling

among the identities

who inhabit my being?

I am like hostile siblings

hiding inside my human,

senator/saint/assassin.

All drunk on sweet wildgod wines.

COHABITATION

One’s freedom designs one’s doom,

and doom patterns one’s freedom.

Domesticated as one,

a different damascene

dominates each domain.

One decorates Notre Dame

and one does Nostradamus.

Thingdom is my domicile–

loud energy and atoms,

dumb gravity’s domination

YOU ARE MY JACKPOT

I won you on a poker hand.

I thought he thought I was bluffing

so I said, “Double or nothing.”

He had two 10s and a 7

and I had two 10s and a 9.

But when he lost he was laughing,

and I didn’t see my danger,

I didn’t know that I was stuck.

I’m still eager to ante up

to gamble with friends and strangers.

They won’t take you as my wager,

so I never have any luck.

LA SREVER S’EFIL

When I went to sea

My mama warned me:

Bewre, my son,

the breakers,

the banks, and the bars.”

dilated — deleted — deluded:

that man now cast by shadow

a fleeting ex-star’s cameo in some other’s dream

distort-reflected from the funhouse mirror

a wivk to darken the lightness

noonday moon’s dry rain

a spectator prpjected from zoo’s perspective

faint notes inhaled from the tuba

downside in outside up

When I went to sea

My mama warned me:

Bewre, my son,

the breakers,

the banks, and the bars.”

NYUN

“When birds

lose their plumes in the sand,

they can’t

glue balloons to thir hands.

They can’t fly

so they die.”

— traditional blues song

The years are like so many sweet girls.

They cuddle against the navel in the middle of the night.

They change O the challenge the body

with pain with delight.

But though the waist is gone, its shadow yet remains.

   Is this what we needed?

   To lie in fields that we seeded

   with the sperm of you/and/me?

My skin is a wrinkledup grocery sack,

all the goodies unpacked and eaten long ago.

My erection turned into ice yesterday,

my eyelids into snow.

But though this face is gone, the halo yet remains.

   All the stones unheeded…. The skies…. The fields….

   Back have kneeded into worms, my butterflies.

And the years. And the years: just like the sweet young girls!

Hanging in memory like leather kites,

gaufy garish stabbing harsh neon lights

to mark the passing of fond remembered rites.

But though this voice is gone, its cho yet remains.

   Is this what we needed?

   To die in fields which receded with the germs of yesterday?

*

(A toast: Time is a precious necklace bequested upon your birth. As time’s beneficiary, you must realize its worth. Though age emcircles your throat with its usual yearly pearl, the worth rests in the wearer and not within the jewel.)

*

The Duane you loved is gone:

There’s a Stranger in his skin.

The old duane was younger,

and the new one’s bones are thin.

Former laughs reform as coughs.

The change cloud=to=clod begins.

*

“When birds lose their plumes in the sand,

They can’t glue balloons to their hands,

They can’t fly so they die.”

[nyun is a Korean homonym that means years of floozies]

THE TEACHER’S SKILL IN SPARKING STUDENT INTEREST IN MUSIC THEORY AT CHILDREN’S MUSIC SCHOOLS
By Abdurayimov Fahriddin Muhammadali og‘li
Drum & Percussion Instructor, Children’s Music & Art School No. 6, Izboskan District

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Abstract

This article explores the critical role of a teacher’s skill in fostering genuine interest in music theory among young students at music schools. Its aim is to share methods and approaches that make music theory engaging and effective. It outlines ways to boost motivation and curiosity through creative teaching methods and pedagogical techniques, with the goal of achieving success in music education.

Keywords: Music theory · Children’s music school · Teaching skill · Motivation · Teaching methods · Creative approach · Interactive instruction · Pedagogy · Music education · Student interest · Rhythm · Chords · Musical rules · Composition · Musical development

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Introduction

Teaching music theory in children’s music and art schools is essential not only for developing musical skills but also for expanding thinking, nurturing creativity, and shaping aesthetic values. Music theory comprises the foundational principles of music—crucial for both composition and performance. However, it can often feel dry or challenging for students, especially when delivered in a purely academic style. That’s why teachers need specific strategies to make theory both interesting and effective.

A teacher’s skill—with creative approaches, pedagogical acumen, and musical knowledge—is vital to spark student interest in theoretical subjects. This not only helps students learn but also nurtures their love for music and the arts. An individual approach is crucial too—each child has unique learning needs and styles. Innovative techniques, interactive instruction, games, and creative exercises are necessary to engage students in theory lessons.

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Core Content & Pedagogical Methods

1. Teacher’s Pedagogical Mastery
A teacher must adapt lessons to individual learners, make complex concepts simple through real-life examples, and act as a positive role model. Mastery in presentation style is essential for student engagement and understanding.

2. Motivation and Engagement
Teachers should identify and leverage students’ intrinsic motivations. Demonstrating music theory through familiar genres or famous composers can captivate students. Providing enjoyable tasks, recognizing progress, and encouraging mistakes-as-learning moments further fuel interest.

3. Innovative Teaching Methods
Employ interactive strategies: turn lessons into games, use music software, audio-visual aids, or online platforms. Learning rhythm through listening, analysis, games, and apps enhances engagement and concept retention.

4. Individualized Instruction
Personalize tasks based on student ability—challenge advanced learners and support others. Build strong rapport, adjust lessons to strengths and interests, and nurture each child’s musical potential.

5. Practical Exercises and Application
Incorporate hands-on practice: rhythm drills, melodic improvisation, composition tasks, and analysis of musical structures. Such activity-based learning solidifies theoretical knowledge through real experience.

6. Making Theory Clear and Fun
Explain chords, intervals, rhythms, and musical rules with interactive exercises or visual tools. Introduce students to various musical styles and cross-disciplinary connections.

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Conclusion & Recommendations

A teacher’s pedagogic skill, creative thinking, and use of innovative methods are essential for making music theory engaging and effective. Capturing students’ attention, boosting motivation, tailoring lessons, and combining theory with practical tasks all support musical growth.

Recommendations:

1. Use interactive and creative methods—games, simulations, music apps—to enhance engagement.
2. Tailor lessons to each student’s learning style and interests.
3. Encourage and reward student effort to build motivation.
4. Blend theoretical content with practical activity and composition.
5. Broaden students’ musical perspective by introducing varied genres.
6. Manage lesson time wisely for focus and comprehension.
7. Stay current—attend seminars, workshops, and continue professional development.
8. Promote collaborative learning—group projects, peer interaction, and team-based music creation.

Implementing these approaches will boost teaching quality and foster deeper student involvement in music theory, nurturing their musical development.

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References

1. U.K. Mirzayeva. Theory and Methods of Music Education. Tashkent, 2018.
2. A.T. Khoshimov. Pedagogical Technologies and Innovations. Tashkent, 2017.
3. J.S. Tarkhanov. Innovative Methods in Teaching Music Theory. Tashkent, 2020.
4. www.musictheory.net – Interactive resources on music theory.
5. www.teachmusic.online – Innovative methods in music education.

Abdurayimov Faxriddin Muxammadali ogli was born on October 15, 2002, in Izboskan district, Andijan region, Uzbekistan.

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.

Jahin Claire Oh is a twelfth-grade student attending high school in San Jose, California. She enjoys coding and takes an interest in media art as a hobby. She prefers warm tones over cool tones and is generally drawn to calming imagery with naturalistic depictions. In her free time, she enjoys spending time with friends and occasionally visits local art exhibits.

He had only one day

He had only one day.
He was thirty eight, a meager age. Poor man, he was; life passed by and stopped
before he had his way.

He had to seize the day –
and thwart it from flying away.
And so he tried to find the day – catch its tail and grab it until it would start to suffocate.

As the clock stroke three, he went out
to feel the sound of a summer day.
He didn’t know what was coming, yet
he had to flee from the cavern of his stuffy room;
reign earth before he had to go back and return his breath to mother nature on his way.

Funny, it was. He noticed the little.
He saw the ants, forming long barcodes with
They were moving, eager, ground earthy
more than ever.
He paid attention to the azure skies, cradling
clouds that made many lives.
Zebras! Elephants! Giraffes! He stared, elated, though
the vast expanse of the sky had always been above his eyes.

Did he miss anything in his way?

He stood to see –
make sure that no images pass by, like the wind on that one lonely night. He failed to stop time, but
he captured every moment – opened up a bubble to protect himself
from the fast-moving day.

Fried Rice

It was all simple, when
mama used to cook me fried rice.
She just threw in bowls of white pebbles in the black pan – saw it jumping, dancing to the beat of life.

How do you cook so quickly, I asked. To that, she grinned and said,
Son, fried rice does not require the blessing of time.

She was never afraid to change the recipe,
succumbing to her little whims
as ingredients caught her sight.
Carrots, Potatoes, Bacon – everything she saw, she chopped and threw it into her cauldron, together with her little frights.

It’s better that way, she replied to my unasked question, as she turned around to clean the aftermath of her bloody kitchen, slightly smiling, as if she somehow
knew the secret of life.

It all got too difficult,
after I flew out of mama’s nest.
I tried to talk to the world, break the silence, but
it only responded with awkward murmurs and lies.

So, now I’ll make the world my fried rice.
We’ll not talk; we’ll stare at each other
like lovers on first date.
I’ll just hand it a plate of fried rice, put into the shape of a heart, but we’ll both know that our lives got more simple

than it ever were.

Walking on White Snow

I’m scared to walk on white snow.
I’m afraid that I’ll make footsteps with my dirty shoes. Touch what I should not touch –
take what has been taken from me for a long while.

I stand by my front door and wonder
how the snow maintained its beautiful, curvy figure
over the long, scary night,
how it never encountered the touch of a stranger who could do things that he knew were just not right.

I don’t want to leave any marks on this trail of white snow; I want to protect it
and ensure that it keeps its whiteness that I so greatly miss, on some quiet night.

So, I’m scared to walk on white snow.
As much as I love a winter day, I shall stay in my house, let the snow stay this way
& hope that it will stay this way for a long while

Sean Lee is a high school student at an international school in South Korea with a passion for poetry and creative writing. Growing up in a multicultural environment, he finds inspiration in the intersection of different cultures, languages, and personal experiences. His poetry often explores themes of belonging, memory, and emotional introspection. 

Dear Mother

You brought me into the world with hardship, dear mother

Sleepless at nights, whenever I was in pain

I know I still trouble you even now

But, mother, I love you

You have suffered so much because of me

But unlike others, you never gave me reproach

Protecting and cherishing me until now

You care for me even when you’re in pain

Your love overflows in your beautiful heart

You always remember the good I have done

Sadly, you have suffered much from me

Forgive me, dear mother, pardon me

Dilnoza Islomova is from Turtkul district in the Republic of Karakalpakstan. She’s currently a high school student and a future poet, who started writing small poems from a young age. She has read many books and is a curious girl who never stops growing and applies herself in every field.

For today’s youth, the ocean of opportunities is wide and full: studying abroad, building innovative projects, exploring creativity, traveling… Yet paradoxically, the more opportunities exist, the harder it becomes to decide. Every door seems open, but behind which one lies our true self?

Far too often, we adopt the dreams of others as our own — the expectations of parents, the “ideal” models of society, the polished lives we see online. These can bury our real desires, until one day we find ourselves walking a path that does not belong to us.

The art of finding yourself is about listening to your inner voice, discovering your values, and following your own path — even if others do not understand. This journey may be filled with more mistakes than successes, but those mistakes shape and define us. True success is not becoming what society calls “successful,” but creating a life where you remain authentically yourself.

 @Iroda_Bozorboyeva_07 Baxromovna
I do not want to be remembered as “She was born, she lived, she died.”