The system of primary sources plays an important role in the formation of the performance skills of future music teachers. Here, we will focus on the analysis of this issue. It should be noted that the concept of “Uzbek folk instruments” is relatively general character, in this place this concept was used in a relative way. Because along with our national instruments, the instruments of the Asian peoples also have a worthy place in our folk instrument’s performance art. The main sources of information on the art of performing folk instruments are: 1) creation of Uzbek folk oral music; 2) historical-archaeological findings; 3) classical written musical works; 4) historical and literary sources; 5) images on rocks and medieval miniatures; 6) science data from studies. In this research work, scattered data from these two sources were systematized and analyzed as much as possible.

Dreaming and interpreting it is one of the unique arts of mankind. The reason why we call this matter art is that a dream is a mysterious phenomenon and a complete scientific explanation of a dream has not been found to date; moreover, each nation has created its national expressions based on its mentality, way of life, outlook, customs and beliefs. That’s it dreams interpretation is an art. Dreams are recognized in the religion of Islam, even in the 12th chapter of the Holy Qur’an – “Yusuf” verses about the interpretation of the dream seen by the prophet Yusuf were revealed. For this reason, peoples who believe in the religion of Islam give priority to the interpretations of Islamic interpretations rather than their national dream interpretations. According to Islamic philosophy, there is a world of spirits, and when a person sleeps, his soul brings messages from this world, which is a dream. In this respect, remember fully the dream seen by people who are mature in spirit remains, and those who listen to their instincts, in most cases, cannot fully remember their dreams.

The art of Islamic dream interpretation was theoretically and practically systematized by Muhammad ibn Sirin (died 729) in the late 7th and early 8th centuries, and ten centuries later, in the 18th century, his follower Abdulghani ibn Nobulusi (died 1731) added additions to this work and enriched the interpretation. Muhammad ibn Sirin divides dreams into two groups: 1) merciful dreams from God (characteristic dreams); 2) Satan mixed with Satandreams (uncharacteristic dreams). Therefore, positive and negative interpretations are combined in the interpretation of dreams. In addition, Muhammad ibn Sirin requires dream interpreters to be knowledgeable, moral, and pious. The meaning of a dream interpreted without knowledge, morality and piety will not come out. Here we draw your attention to the interpretation of dreams related to the art of music, which is included in the concept of Ibn Sirin and Nobulusi. This is one of the most scientific and interesting issues. Ibn Sirin and Nobulusi conditionally divided the dreams related to the art of music given in the interpretation into two groups: 1) dreams related to the general art of music; 2) dreams about musical instruments.