The importance of teaching folklore genres to music education students in higher education.
Ma’rufjon Ashurov Abdumutalibovich
Andijan State University, Faculty of Art History,
Associate Professor of Music Education
mail: maruf79@bk.ru
Annotation: It is important to use folk art and its inexhaustible heritage to bring to the people the customs and rituals inherited from our ancestors and to present them in a modern interpretation. Uzbek folklore is a form of oral art in various forms, reflecting the worldview, artistic taste, creative potential, dreams and aspirations of the Uzbek people. Through the study of folk music teaching methods, the student is brought up in the spirit of respect for our ancient traditions, customs, labor songs and melodies, respect for our national values, and a deep, thorough study of the art of national music.
This article provides information on the importance of teaching folklore genres through music culture classes for undergraduate students.
Keywords: Humanity, spirituality, folk music, folklore ethnographic ensembles, the era of written stone inscriptions, ancient customs, rituals, labor songs and melodies, national values, national music .
Introduction. The role and importance of folk music and, today, folk ethnographic ensembles in ensuring and describing the richness of the spiritual world of mankind is enormous. Authors of historical, scientific, and literary works have resorted to examples of folklore for various purposes, sometimes in modified and reworked form, and often in the form of descriptions of the content. The legends and myths of ancient world travelers and historians about various customs and rituals, as well as the process that began in the Stone Age, continue to this day in various contexts and forms, depending on the nature of the historical development of literature and art.
It is important to use the art of folklore and its inexhaustible heritage to bring to the people the customs and rituals inherited from our ancestors and to present them in a modern interpretation.
Uzbek folklore is a form of oral art in various forms, reflecting the worldview, artistic taste, creative potential, dreams and aspirations of the Uzbek people.
Through the study of folk music teaching methods, the student is brought up in the spirit of respect for our ancient traditions, customs, labor songs and melodies, respect for our national values, and a deep, thorough study of the art of national music.
From ancient times, the song "Halinchak" was sung by girls and young brides on a branch of a large tree in the garden.
Voice Exercises In this case, the students' voices are warmed up by various exercises for 10-15 minutes before singing
The song "Lolajon" The girls went out into the fields in the spring and celebrated the tulip festival. In the song, the girls sing like tulips and perform ritual dances
The song "Ha dorsi" is dedicated to the process of crushing grapes, separating the juice and making syrup from it. The ceremony was attended mainly by women. That is why they put the body of the vine on their backs and the branch on their wrists
"Hay yor-yor song" In ancient times, the song was sung mainly by men at a party, with applause, each couplet was sung by another, and the refrain was sung in unison.
The song "Hop mayda" is from the Galagov series of songs. In the long and tedious work, of course, they sang. The song Maydayo was created as a result of this labor ceremony.
The song "Navruz Mubarakbodi" was sung by young people in the fields after the winter, when the flowers melted in the melting snow and heralded the beginning of spring. shiqlari
The song "Shoxmoylar" is from the series of labor and ceremonial songs. In the early spring, the villagers went out into the fields to prepare the oxen, and the oldest man in the village anointed the oxen with horns and put a tumor around their necks to pray. After all the people had prayed, they joined the neighboring oxen and started plowing. The song is dedicated to this ceremony.
The song "I have a job for Lola" is a men's humorous song. At the wedding, the couple sang to the applause of their shortest friends. He was kneeling in the middle and dancing.
The song "Zuhra khola" is from the series of Labor songs. Aunt Zuhra cooked for the farmers until they were tired and had lunch. The singers sang to the chef. The cook aunt sang couplets in response to them
Stage movements Stage movements also play a key role in folk songs. The body, arms, legs, and head should be free, light, and supple.
Each movement is required to fit the theme of the song.
Ritual dances Work ceremonies: plowing, harvesting, threshing straw, milking cows, etc. by the performers on stage in the dance by means of stage attributes Song "Tandiring dan yangajon" songs sung in ritual dances, touching the breasts. The boys sing the chorus in a chorus. Yanga sings solo towards them.
The "Fox Wedding" ritual It is said that when it rains suddenly in the chill of summer, our people have a "fox wedding". The song is sung by a singer. The whole team will be with him. The soloist performs a ritual dance.
"Spider" songs From ancient times, our grandmothers used to spin and spin. They wove cobwebs and carpets. This handicraft has survived to the present day. In the song, this process is demonstrated through ritual actions.
The song "Tul Bobo" is a comedy about the relationship between father, son and mother
Genres of Uzbek folklore
Folklore works, like all works of art, are divided into specific genres according to their structure, artistic features, place of application and function. The notions of genre and genre diversity are stable forms that have emerged over very long periods of time as forms of artistic depiction of life, and it is changing very slowly. The ancient Greek philosopher Aristotle, the German philosopher Gegel and the Russian democrat Belinsky acknowledged the existence of three types of art - epic, lyric and drama. Genre refers to the types of artistic forms in folklore - fairy tales, epics, proverbs, hymns, songs.
Genres of Uzbek folklore are closely connected with the work of artists. While genres such as riddles and proverbs are popular, epics, oral dramas, and fairy tales require professional training.
For this reason, in Uzbek folklore, the professionalization of folk artists is a highly developed professional art of performance of bakhshis, storytellers, askiyaboz, hobbyists, dorboz. Genres of Uzbek folklore differ in the methods of performance, ie solo performance, group performance, with and without performance.
When a fairy tale or narration is told, the epic is intended to be sung and told. When lapars are sung and danced, the oral drama is based on a mixture of words and actions. Latifa and lof are sung in solo performance. There are some types of songs that are sung solo and the rest are sung by a group. Askiya and oral drama are also for the band.
Proverbs.
The proverb is one of the genres of oral creativity, which has a concise, deep meaning, based on the experience and observations of the people over the centuries in the socio-economic and cultural life.
The proverb is derived from the Arabic word qawlun-speaking, to say, and is applied to expressions and phrases that are uttered.
Riddles.
Riddles, a unique form of artistic perception of life, are one of the most popular genres of folklore. A question or task given in a poetic or prose structure to puzzle two objects and events that are similar in form, function, action, and situation, and to find them on the basis of similar characteristics, is called a "riddle."
Applause.
Praise in Turkish means to praise, to honor, to wish good wishes, to lift one's spirits and to call for good, to glorify, to elevate. The Old Turkic verb al, which means to boast, is made up of the addition of the command-qi to the stem and the suffixes of the action name (a).
Uzbek folk applause is divided into two parts according to its place, function and poetic nature: 1-day domestic applause is divided into two parts according to its place, function and poetic nature: 1st daily applause, 2nd part divided into applause performed as part of traditional ceremonies.
Ceremonial folklore.
Rituals are rituals performed in order to wish a person good health, peace in his life, good luck in everyday life, or to celebrate important points in a person's life. The songs and sayings performed during the ceremony form the folklore of the ceremony.
Spring season ceremonies.
Seasonal ceremonies are associated with the way people live and work during the four seasons of the year. With the onset of spring, the field work of the farmer and herdsman begins. While the farmer prepares for sowing and digs ditches, the farmer prepares to move to pastures. All the hard work in the life of a farmer and a herdsman used to be done by hashar. Spring seasonal ceremonies include "Shokh Moylar", "Navruz Olam", "Yogir Chakir", and "Sust Khotin".
Summer ceremonies.
Summer has a special place in people's economic activity. As a result, the ceremonies this season have been varied. However, only one genre has survived in Uzbek ceremonial folklore. Only some genres of summer ritual folklore have been preserved. These are the songs performed at the Tea Momo ceremony.
Folklore of autumn ceremonies.
In the fall, the farmer reaps the fruits of his summer labor, and the herdsman prepares fodder for the winter. Autumn ceremonies include ceremonial songs "Oblo baraka", "Shamol chakirish", "Mirhaydar bobo", "Galagov", "Hop mayda".
Folklore of winter ceremonies.
In Uzbek folklore, only the Gap-Gashtak and Yas-Sun rituals have survived. The rumor mill is held by the men in a teahouse or apartment in the neighborhood. The Yas-Sun ritual originated mainly among nomadic pastoralists as a ritual of kizim-khor, which means the rules of sitting in a circle.
Folklore of family rituals.
The ceremony forms a large part of the folklore. From birth to death, a person's life takes place directly in the family circle, and this series of ceremonies is called family ceremonies. Family ceremonies include "Folklore of Weddings", "Folklore of Cradle Weddings", "Folklore of Circumcision Weddings", "Folklore of Weddings", "Folklore of Mourning Ceremonies" and others.
Songs.
The song is made up of the root of the Turkish compound verb, which means to sing and recite by adding verse to verse. The songs express the power of the people's spirituality, the indomitable will of the people, and call people to spiritual freshness, courage, diligence and generosity, patriotism and friendship, devotion to love. When love is sung in a song, such songs are called "lyrical songs".
Labor songs.
When a song is performed by those who work in the labor process, and the content is related to the labor process, such songs are called “labor songs”. Labor songs come in a variety of genres, and there are several features that keep them within a single category. Uzbek labor songs are divided into the following groups. They are:
1. Songs about farming.
2. Livestock songs.
3. 3. Craft-related songs.
1. Farm labor songs include "Song of Songs", "Song of Harvest", "Song of Yanchik", "Song of the Blanket".
2. Livestock-related labor songs include “Hosh-hoshlar”, “Turey-turey”, and “CHuriya”.
3. Craft-related labor songs include "Charkh songs", "Bozchi songs", "spider songs", "Kashta songs".
Terms.
The team is an independent genre of Uzbek folklore, and the role of bakhshis in its creation is enormous. In most cases, they are the work of individual poets. Created about exhortation, etiquette, words and phrases, various events in social life are devoted to the description or criticism of individuals and animals, from 10-12 lines to 150-200, sometimes even more verses sung by bakhshis The lyrical, lyro-epic poems that are
Legends.
Legend is one of the oldest genres of Uzbek folklore, which tells the story of social life on the basis of fiction. It arose in the process of people's desire to know and understand natural phenomena and social events. The legend is derived from a Persian word and refers to prose stories based on fiction, magic, and life fiction.
Legends.
Narration is one of the genres of oral creation that depicts life events through life fiction. They include the construction and destruction of historical events and events related to certain individuals, human life, geographical areas - deserts, lakes, deserts, seas, cities, villages, castles, palaces, etc. will be told. In the narrations, advanced ideas such as grace and tenderness, intellect and prudence, love and fidelity, goodness and humanity are contrasted with vices such as oppression and violence, security and injustice.
Transfers.
The term metaphor was used among the peoples of the Near and Middle East as "Zarbulmasal" and was used as a symbolic story. In Uzbekistan, instead of "Zarbulmasal", the term "transport" is mainly used. It is a metaphorical story of an educational nature that explains ideas about morality and etiquette. From the Uzbek folk tales "Everyone does to himself", "A man is alive with a man", "Put your foot on the bed", "Everyone to himself, the moon is visible to the eye", "The clap is ours, the egg" "Put today's anger on tomorrow," "Let the one who does not see see what he sees," and so on.
Fairy tales.
Fairy tales are one of the oldest and most popular genres of folklore, and ancient customs, rituals, and myths played a decisive role in its emergence. The term "fairy tale" occurs in Mahmud Kashgari's "Devonu lug'atit" Turkish work in the form of "mature" and means an oral narration of an event. Although the term fairy tale is now accepted in folklore, Surkhandarya, Kashkadarya, Samarkand, and Fergana Uzbeks also use it as a "proverb." In the villages around Bukhara, the term "ushuk" is used in Khorezm, "varsaqi", "Tashkent" and its environs "Chopchak". Among the Uzbeks there are such terms as fairy tale, ushuk, matal, chopchak, as well as story, legend, sit, total.
Anecdotes.
One of the well-known and popular genres of anecdote-oral prose, it consists of one or two episodes that are small in size and concise in content, and are based on sharp humor or light humor.
Criticism or humor, on the other hand, is a play on words, a variety of jokes, and a revealing laughter. The term latifa is derived from the Arabic words latif and lutf, which means a funny story consisting of subtle, ambiguous words, subtle allusions, and allusions. The peculiarity of the anecdote genre is connected with the image of the only hero of the works - Nasriddin Efendi. This image is often referred to as "Nasriddi efendi", "Khoja Nasriddin", "Mullo Nasriddin" and finally "efendi".
Loflar.
Lof is one of the independent genres of Uzbek folk prose, and its structure is close to the genres of anecdote and askiya, based on humor and humor. That is why the eloquence, ingenuity and quick-wittedness of this or that lobbyist play a decisive role in the formation of this genre. The loaf genre was formed and performed mainly among comedians and aspirants. In each loaf, unnatural events, negative characters are ridiculed. Praising takes the form of a logical response to an exaggerated episode, a rhetorical contest.
Epics.
Doston is one of the most widespread and major genres of Uzbek folklore. Its creation is connected with the spiritual life of our people, socio-political struggles, moral and aesthetic views, ideals of justice and fairness, freedom and equality, heroism and patriotism.
The word epic is used in the sense of story, narrative, adventure, description, and praise. As a literary term, the term refers to large-scale epic works of folklore and written literature. Folklorists say that a saga is a complex work of art, and in order for it to be a saga, it must have a literary text, music, a mastery of the art of singing, and a good command of words.
The performers and creators of the epics are the bakhshis. The performers and creators of the epics are the bakhshis. Epics include "Heroic Epics", "Romantic Epics", "Domestic-Romantic Epics", "Historical Epics".
Oral drama.
Oral drama is an independent form of folk art, which means the performance of oral plays woven among the people. It originated in ancient times and still plays a decisive role in cultivating the moral norms, artistic perception and aesthetic taste of the people's consciousness. Different entertainments, dramatic situations, different appearances, monologues and dialogues, stage movements and sound tones are the hallmarks of the genre of oral drama.
Askiya.
Askiya is an independent genre of Uzbek folklore, performed mainly at weddings, gatherings and elections. Askiya is derived from the Arabic word ‘zakiy’, which means eloquent, intelligent, sharp-witted. The plural form of the word zaki is azkiyo, which later changed its pronunciation to Askiya. Askiya performers are called askiyaboz, askiyachi. The listeners take sides and start the askiya with a sneer, and the listeners are happy to see that one side or the other is eloquent and responsive. When one of the parties prevails, the laughter turns into laughter.
List of used literature.
1. B.Sarimsakov "Applause and curses" Tashkent Science 1988;
2. Jahongirov. "Uzbek children's folklore" Tashkent Science 1974;
3. K.Imamov "Uzbek folk oral prose". Tashkent, Science, 1981;
4. M.Alaviya "Uzbek folk songs". Toshkent Fan. 1959;
5. O.Safarov "Uzbek children's poetic folklore". Tashkent Science 1983;
6. O.Sobirov. Essays on Uzbek Folklore. Tashkent Science 1971;
7. S. Kasimov "Uzbek folklore essay" Tashkent. Science, 1988;
