Abstract: This article analyzes the need and importance of staff training in the context of digital services in the banking system of Uzbekistan. The article identifies the advantages and disadvantages of the existing system in national practice, and studies international experience – approaches to training in the banking sector of Great Britain, Germany and Singapore. Based on the results of the study, proposals and recommendations have been developed to improve the effectiveness of training in Uzbekistan, such as a competency model, public-private sector cooperation, digital training platforms and integration into the international certification system. These approaches serve to strengthen the competitiveness of the financial sector by improving the professional skills of bank employees.

Keywords: banking system, training, digital services, competency model, international experience, digital training, personnel policy, financial sector, innovative development.

Relevance of the topic: Over the past decade, the processes of introducing and developing digital technologies in the global financial market have significantly accelerated.  The banking system is one of the most active participants in this process, widely using innovative solutions to provide fast, convenient and secure services to customers. These include remote settlement systems, mobile applications, Internet banking, advisory services based on artificial intelligence, blockchain technologies and online lending systems. These digital services not only increase the operational efficiency of banks, but also serve to bring interaction with customers to a qualitatively new level.

However, the successful implementation of digital services is not determined only by the development of technological infrastructure. In this process, human capital – that is, the professional potential, knowledge and skills of bank employees – is a decisive factor.  In addition to financial literacy, modern bank employees must have excellent knowledge of information technologies, master the basic principles of cybersecurity, and be able to explain new services to customers and direct them to their effective use. According to the World Bank (World Bank, 2023) and the International Monetary Fund (IMF, 2022), 70–75% of banks that have successfully implemented the digital transformation process have introduced special training programs for employees. These programs are aimed at adapting employees to work with new technologies, improving service quality, and enabling them to respond quickly to customer needs.

In the Republic of Uzbekistan, the development of digital services in the banking system has also been identified as one of the priorities of state policy. Within the framework of the “Digital Uzbekistan – 2030” strategy, a number of reforms are being implemented to widely introduce innovative technologies in banking activities, increase the types of remote services, improve online payment systems, and strengthen cybersecurity.  However, practice shows that in many commercial banks, the process of staff training is not organized in accordance with the pace of development of digital services. Currently, in some banks, training courses on digital services are held only after the introduction of new systems, but a continuous training system has not been established. This leads to delays in the full adoption of new technologies, differences in the quality of service, and in some cases, customer dissatisfaction. International experience shows that digital transformation gives effective results only when the training of bank employees is carried out in a continuous, systematic and goal-oriented manner. Therefore, the purpose of this article is to analyze the process of staff training in the context of digital banking services, study international practice, and develop scientifically based proposals for optimization for the banking system of Uzbekistan.

The results of the study are expected to improve the quality of services by increasing the level of training of bank employees, increase the share of digital services and strengthen the overall competitiveness of the banking system. World practice in the development of human capital and staff training in the banking system in the process of digital transformation offers various approaches. Analysis of best practices is of strategic importance for Uzbekistan, since competitiveness in the global financial market depends not only on technological infrastructure, but also on the system of training qualified personnel. The following is an analysis of advanced approaches in the banking systems of Singapore, Great Britain, Germany, South Korea and the USA.

Singapore experience: The issue of professional development in the Singapore banking sector is supported at the state policy level. The Skills Framework for Financial Services program, developed by the Institute of Banking and Finance (IBF), defines a single competency model for all bank employees.  This model covers: technical skills (IT, cybersecurity, data analysis); customer service competencies; strategic management and leadership skills. Banks ensure that employees undergo at least 40 hours of mandatory training each year. Classes are mainly held in the “blended learning” format (online + practical training).

UK experience: In the UK, the Chartered Banker Institute operates to train bank employees. It maintains a certification system for banks according to professional qualification levels. Certification: Professional Banker Certificate – for new employees; Chartered Banker Diploma – for middle and senior specialists; Executive Education – for top managers. This system is based on the principle of “lifelong learning” and encourages employees to constantly improve their skills.

German experience: In Germany, a dual education system is widely used in the banking system. Commercial banks, in cooperation with the German Banking Academy, participate in programs that allow employees to work and study at the same time. This system: allows for the direct application of theoretical knowledge in the work process; effectively uses the “learning-by-doing” method in mastering new technologies.

South Korean experience: In the South Korean banking sector, training processes are carried out through the FinTech Education Center and internal training centers of large banks. Training is mainly focused on the following areas: FinTech innovations; mobile payment technologies; blockchain-based services; IT security. Banks involve employees in practical training in a “digital sandbox” environment, where they have the opportunity to test new technologies in a safe test environment.

US experience: In the US banking system, the training system is mainly carried out through the internal academies of large banks.  For example, the Bank of America Academy trains more than 100 thousand employees per year. Trainings are focused on: customer service quality; credit risk assessment; regulatory requirements and compliance policy; introduction of digital services. Generalization of international experience. Analysis shows that the system of advanced training of bank employees in advanced countries has the following features. Public-private partnership – training programs are integrated with state policy. Competency-based approach – training programs are aimed at developing specific competencies. Flexible training format – online and offline training are combined. Practice-oriented training – training in conditions close to the real work process. Continuous update – programs are regularly updated in accordance with technological changes. These experiences can serve as an important methodological basis for improving the training system in the context of digital services in the banking system of Uzbekistan.

 CONCLUSION: In the banking system of Uzbekistan, staff training is not only a factor of internal efficiency in the digital economy, but also an important strategic direction ensuring competitiveness in the global financial market. The study shows that the success of the training process depends on several interrelated factors: strategic planning, the introduction of advanced technologies, harmonization with international standards, and a system of employee motivation. International experience, including the practice of Great Britain, Germany, Singapore, and South Korea, has proven that organizing training based on a competency model, strengthening public-private cooperation, and the widespread use of digital training platforms yield effective results. This experience is also applicable in the conditions of Uzbekistan, and its adaptation will accelerate the pace of innovative development of the banking sector. The existing problems in the national banking system – the incomplete compliance of training programs with modern requirements, weak integration with international certification programs, and the lack of practice-oriented training – can be eliminated through a systematic approach.  To this end, the following should be set as priorities: 1. Developing a unified competency-based training model. 2. Expanding cooperation with international financial institutions and professional associations. 3. Introducing online and hybrid learning technologies. 4. Developing practical training and simulations in a “digital sandbox” environment. 5. Incentivizing employees by partially subsidizing training costs. As a result, a modern and effective training system will increase the adaptability of bank employees in the digital economy, improve service quality, strengthen customer trust, and strengthen the position of the Uzbek banking sector in the international arena.

References:

1. Decree of the President of the Republic of Uzbekistan dated May 12, 2020 No. PF–5992 “On measures to reform and digitize the banking system”

2. Central Bank of the Republic of Uzbekistan. “Strategy for the introduction of digital technologies in the banking system”. – Tashkent, 2023.

3. Mirkiyamov, A. R. Banking: theory and practice. – Tashkent: Economy, 2021. – 356 p.

4. Kagan, J., & Molyneux, P. The Business of Banking. – Oxford: Oxford University Press, 2020.

5. World Bank. Fintech and the Future of Banking. – Washington, DC: World Bank Publications, 2022.

6. Basel Committee on Banking Supervision. Sound Practices for the Management and Supervision of Operational Risk. – Basel, 2021.

7. OECD. Digital Transformation in Financial Services.  – Paris: OECD Publishing, 2022.

 8. Singh, R., & Sharma, P. “Competency-Based Training in the Banking Sector: Global Trends and Practices.”  International Journal of Bank Marketing, 2021, Vol.  39(4), pp.  567–589.

 9. Ernst & Young.  Global Banking Outlook 2023. – London: EY, 2023.

 10. European Banking Authority.  EBA Guidelines on ICT and Security Risk Management.  – EBA, 2022.

I am Eshmurodova Sevinch Bahrom qizi, born in 2006 in the Kamashi district of the Kashkadarya region. Between 2022 and 2024, I studied at the Academic Lyceum of Karshi State University in the “exact sciences” department and successfully graduated. In 2024, I was admitted to Karshi State Technical University and am currently a 1st-year student at the Faculty of Economics and Management, Banking Department. In my free time, I play sports. I am a 3-time champion of Uzbekistan. I have also taken the honorable 1st place in Tashkent several times. In addition, I have won the Rector’s Cup several times. Currently, I am running an online business at home. I make tiaras for girls. I take an online course in Turkish. My goal is to open a training center in the area where I live, in agreement with the governor.  I would like to pay special attention to Turkish, Russian, mathematics, and robotics at the center.

Aleksandr Arkadyevich Faynberg: Life, Literary Contributions, and Cultural Legacy

Abstract

Aleksandr Arkadyevich Faynberg (1939–2009) was one of the most prominent literary figures in Uzbekistan during the second half of the twentieth century. As a poet, translator, and scriptwriter, he significantly influenced both Uzbek and Russian literary traditions. His work reflects a synthesis of cultures, lyrical refinement, and philosophical depth, making him a key figure in fostering cultural exchange between the Turkic and Slavic worlds. This paper presents an academic overview of Faynberg’s life, literary contributions, translation activities, cinematic achievements, mentorship, and enduring legacy.

Introduction

The literary landscape of Uzbekistan in the Soviet and post-Soviet periods witnessed the emergence of several significant figures who contributed to both national and transnational literary spheres. Among them, Aleksandr Arkadyevich Faynberg occupies a unique position. Writing primarily in Russian yet deeply embedded in the cultural context of Uzbekistan, Faynberg successfully bridged linguistic and cultural divides. His poetic voice resonated across linguistic boundaries, and his translations served as vital conduits for introducing Uzbek literature to Russian-speaking audiences.

Early Life and Education

Aleksandr Faynberg was born on November 2, 1939, in Tashkent, then part of the Uzbek Soviet Socialist Republic. His parents, originally from Novosibirsk, relocated to Tashkent in 1937, a period marked by significant migration within the Soviet Union due to industrialization and political centralization. The multicultural environment of Tashkent, where Uzbek, Russian, and other Central Asian communities coexisted, played an important role in shaping Faynberg’s worldview.

Following his early education, Faynberg studied at the Tashkent Topography Technical School, after which he served in the Soviet Army in Tajikistan. His experiences during military service exposed him to the diverse landscapes and cultures of Central Asia, which later appeared as motifs in his literary work. Determined to further his education, Faynberg enrolled in the Faculty of Philology at Tashkent State University (now the National University of Uzbekistan), pursuing a degree in journalism through correspondence study. This academic background equipped him with literary theory, critical analysis skills, and journalistic discipline. In 1961, he married Inna Glebovna Koval, with whom he shared a lifelong partnership.

 Literary Career

Faynberg’s literary debut came in the 1960s with the publication of his first poetry collection, Etude (1967). This work demonstrated his mastery of lyrical form, precise imagery, and emotional subtlety. Over the next decades, he published numerous collections, including Poems (1977), Distant Bridges (1978), Free Sonnets (1990), and Leaf (2008). These collections established him as a leading figure in Russian-language poetry in Uzbekistan.

His poetry combined personal emotion with universal philosophical reflection, exploring themes such as love, time, human dignity, and the transience of life. While his language was deeply rooted in the Russian literary tradition, his imagery and cultural references reflected the landscapes and heritage of Uzbekistan. This synthesis created a distinctive poetic voice capable of appealing to diverse audiences.

Translation Work

One of Faynberg’s most significant contributions was his work as a translator. He translated the poetry of eminent Uzbek writers, including Alisher Navoi, Erkin Vohidov, and Abdulla Oripov, into Russian. His translations were not merely linguistic transpositions; they were creative reinterpretations that preserved the rhythm, imagery, and emotional intensity of the originals. In doing so, Faynberg contributed to the cross-cultural dialogue between Uzbek and Russian literary communities.

In the context of Soviet cultural policy, translation played an essential role in promoting national literatures within the broader Soviet canon. Faynberg’s work in this sphere not only introduced Uzbek poetry to Russian-speaking readers but also helped secure its place in the shared literary heritage of the USSR.

Cinematic and Dramatic Contributions

Beyond poetry, Faynberg made important contributions to cinema as a scriptwriter. He authored scripts for seven feature films and approximately twenty animated films. Notable works include Under the Blue Sky, The House Under the Hot Sun, and Those Burned in Kandahar. In 1999, he wrote The Stadium in the Sky, a poignant film dedicated to the 1979 air disaster that claimed the lives of the “Pakhtakor” football team. This work demonstrated his ability to translate poetic sensibility into visual storytelling, combining emotional resonance with narrative structure.

 Mentorship and Literary Leadership

From 1965 to 1969, Faynberg served as a consultant for the Writers’ Union of Uzbekistan. In this capacity, he mentored young writers, organized literary seminars, and provided editorial guidance. His role in nurturing emerging talent contributed to the vitality of Uzbekistan’s literary scene during a period of both ideological constraint and creative innovation.

Recognition and Awards

Faynberg’s literary and cultural achievements earned him numerous honors. In 1999, he was awarded the title of Honored Cultural Worker of Uzbekistan. In 2004, he was named People’s Poet of Uzbekistan, one of the highest accolades in the country’s literary sphere. In 2008, the Russian Federation awarded him the Pushkin Medal for his contributions to Russian-language literature and his role in fostering cultural exchange. Esteemed poet Abdulla Oripov described him as a “unique poet and translator,” noting that no other Russian-language writer had sung about Uzbekistan with such sincerity.

Literary Style and Themes

Faynberg’s poetic style is characterized by lyrical clarity, cultural synthesis, and philosophical depth. His ability to weave together Russian literary forms with Uzbek imagery created a body of work that is both regionally grounded and universally resonant. His poems often reflect on the passage of time, the inevitability of change, and the endurance of love and memory. This thematic range, combined with formal elegance, positions his work within the broader tradition of world literature.

Legacy

Aleksandr Faynberg’s influence extends beyond his published works. As a poet, he enriched Uzbekistan’s cultural heritage; as a translator, he built bridges between linguistic communities; as a scriptwriter, he contributed to the country’s cinematic tradition; and as a mentor, he helped shape future generations of writers. His works continue to be read, studied, and appreciated in both Uzbekistan and abroad, reflecting his enduring relevance in a rapidly changing cultural landscape.

Conclusion

Faynberg’s life and work illustrate the power of literature to transcend linguistic, cultural, and political boundaries. His poetry, translations, and screenplays collectively form a multifaceted legacy that has left a lasting imprint on the literary and cultural identity of Uzbekistan. By harmonizing the Russian and Uzbek literary traditions, Aleksandr Arkadyevich Faynberg not only enriched the artistic heritage of his homeland but also contributed to the global appreciation of Central Asian literature.

References

1.Faynburg, A. (n.d.). Selected poems. Tashkent: Gafur Gulyam Literature and Art Publishing House.

2.Karimov, I. (1995). High spirituality is an invincible force. Tashkent: Uzbekistan Publishing House.

3.Mirziyoyev, S. (2017). We will build our great future together with our brave and noble people. Tashkent: Uzbekistan Publishing House.

4.Sultonov, S. (2003). Modern Uzbek literature: An overview. Tashkent: Fan Publishing.

5.Yusupova, G. (2015). Aleksandr Faynburg’s contribution to Uzbek poetry. Uzbekistan Journal of Literary Studies, 4(2), 45–52.

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.

Dissipate

An orange glow emanates

from the entrance of a cave

wavering heat reaches

its threatening tendrils out 

in hunger, disappearing

The wall of a fallen castle

broken shell of the past

dust settles around the 

decaying wooden floor, the rough

concrete bumps tickle my fingertips

A small well with a bottomless pit

only darkness obstructs what lies within

once in a while, the wisps

will soar into the sky

then dissipate.

Decompose

Sitting alone at my desk

my head resting on my arms

I close my eyes and isolate

the hum of air conditioning

The buzz transforms into cymbals of waves

crashing onto the grainy sand ashore

The sun radiates with exhausting heat

in the freezing water, my feet submerged

keeps my subconscious at bay

I take a moment to behold the scene

one I will never truly see

the bells signal class, and the seagulls

caw their goodbyes as my vision blurs

back to the disappointing scene I started from.

Shedding Non-existent Tears

Supposedly, an everyday morning

the same repetitive routine

Wake up, then take a cup

pour a glass of milk for the morning

It was no special action

just my hand sped too far

but once it started, it never stopped falling

till the glass lay flat on the table

the ringing bell constricted my heart

cause no matter what, I could only have

one cup of milk for every morning

nothing less, and nothing more

I look upon the white liquid

finding crevices on the wooden floor

A forgiving voice whispers in my head

it was bound to happen someday

but the more I stared at the mess I made

the greater wider the hole in my stomach became

so with a disappointed sigh, I wiped the mess

and left with just an empty stomach

Austin Chung is a diligent high school student thriving in the bustling city of Seoul, South Korea. Passionate about his education and driven by curiosity, he is meticulously crafting his portfolio, eagerly seeking opportunities to showcase his talents and achievements. With a keen eye for detail and a hunger for knowledge, Austin is poised to make a significant impact in his academic journey and beyond.

Jinyoung Chloe Park is a high school student attending a school in Boston, Massachusetts. With an unwavering passion for art, she is diligently curating her art portfolio. Beyond her artistic endeavors, Jinyoung finds joy in creating handcrafted objects and expressing herself through K-pop dancing.

Sophie Yoon is a student and aspiring artist. Drawing inspiration from her surroundings and personal experiences, she uses various mediums to craft pieces that connect on an emotional and thought-provoking level. Sophie is passionate about storytelling through art and hopes to inspire others with her unique perspective.