Formation of the concept of "Uzbek national musical heritage and its role in the development of creative thinking in young people" in the minds of senior students of music education in higher education.
Ma’rufjon Ashurov Abdumutalibovich
Andijan State University, Faculty of Art History,
Associate Professor of Music Education
mail: maruf79@bk.ru
Annotation: Our national musical heritage consists of two great directions from the past, that is, emerging from each other, complementing each other, as well as having their own unique characteristics. found One is musical folklore and the other is professional music created by creative thinking.
Keywords: Law on Music, Young Generation, Fine Arts, Education, National Training Program, Education.
Introduction. The art of music is an important factor in the development of delicacy in the development of the younger generation. The art of music serves to form the spiritual, artistic and moral culture of students, to cultivate national pride and patriotism, to develop creative skills, sophistication and artistic taste, to broaden the horizons of thought, to foster independence and initiative.
Changes in the education system in accordance with the requirements of the Law of the Republic of Uzbekistan "On Education", "National Training Program", along with other subjects in secondary schools It also requires a radical overhaul of the teaching of the art and culture of music. The introduction of the state educational standard in music education, as in all academic disciplines, will allow to make full use of the national musical heritage. These are reflected in popular folk songs and melodies, in the creative work of singers and musicians, in today's contemporary music.
Such opportunities in the art of music serve as a unique and unique source of educating the new generation, their harmonious development. In music art and culture classes, it is important to be able to perform musical works on Uzbek folk instruments along with the piano. The teacher must be creative in his / her work and teach according to the requirements of the program. The new content of music education, based on state educational standards, not only improves students' musical knowledge and skills, but also develops in them such qualities as observation, memory, image, creativity, independence, initiative, artistic and musical taste. 'he says. Therefore, the new content of music art and culture education envisages the upbringing of the younger generation as a cultured person who can inherit our national musical heritage and realize the richness of universal music. The main goal is for students to learn the art of music in all its nuances, to develop their musical skills: artistic perception of music, solo and group singing, dancing and creative skills.
The art of music is a powerful tool for knowing life and educating people. But the level of his service in education and upbringing depends on the power of aesthetic and artistic influence on a person.
The so-called "Eastern or Muslim Renaissance" period in the history of Oriental studies in the VII-XII centuries is the peak of all the developments in the Middle Ages in the East. Abu Yusuf Yaqub Ibn Ishaq al-Kindi, Abu Nasr Ibn Muhammad al-Farabi, Abu Ali ibn Sina and others were great representatives of this period.
Ibn Sina wrote about music in five of his works. This is the music section of the multi-volume encyclopedia Kitab ash-shifo (The Book of Healing). Ibn Sina’s tarifha is a science of art, including music. Hence the essence of art, "perception with the mind" or "knowledge of things." Ibn Sina emphasized the educational value of music. It focuses on cultivating aesthetic taste through the medium of art. The great scholar emphasizes that in order for a person to develop in all respects, it is necessary to interact through physical exercise, music and other arts for spiritual development.
The minimum requirements for the content of the subject "Art and Culture of Music" consists of a set of theoretical and practical activities. The following learning activities will be used during the course:
1. Listen to music.
2. Sing as a group.
3. Music literacy.
4. Musical creativity.
Listening to music is the basis of educational content. In addition to the study of melodies and songs through listening activities, there is an opportunity to learn and master the musical rhythmic movements, creative activities, to express musical descriptions.
Singing as a group is necessary to develop students' musical ability and performance skills. During group singing in the classroom, the student seeks to control his or her own voice, listen to and observe the teacher's performance, and interact with them.
Music literacy is important as an activity that theoretically integrates all knowledge. No matter what the activity, the work on the given topic is studied and new concepts about its features (genre, form, structure, performance) are formed. Therefore, music literacy is not only the study of musical notation, but also a set of general knowledge, concepts (performance, folk and compositional music, their differences, local styles of national music, classical music notation) that make up the general musical knowledge of students. literacy).
Listening to music, soloism, vocals and ensemble performance, musical taste and perception are also developed.
The basis of music education is the development of musical talent of students, the development of love and passion for music, the creation of the necessary conditions for the development of talent of students interested in music, the satisfaction of their artistic needs. Music reveals to a person a great feeling that was previously unknown, it is able to change a person, to soften his heart, to enrich him spiritually. That is why it is not in vain that music is said to be an expression of all the good qualities of human nature. He who loves music is spiritually enriched, his heart is refined, his spirituality is enhanced.
Our national musical heritage consists of two great directions from the past, that is, those that arise from each other, complement each other, and at the same time have their own unique characteristics. One of them is musical folklore, and the other is professional music created by creative thinking. Both directions have their own internal laws, form, method of execution, place and time. Among the major forms of traditional folklore, such as the Bukhara Shashmaqomi, the Khorezm Six-and-a-half maqom, and the Fergana-Tashkent maqom, a number of examples of music have been created. Among the works typical of the Fergana-Tashkent performance routes are “Navruz ajam”, “Hojiniyaz”, “Mirzadavlat”, “Ajam taronalari”, “Mushkiloti Dugoh”, “Munojot”, “Miskin” under the name “Tanavor”. a series of melodies and songs were composed. But every piece of music, from its title to its presentation to the listener, has its own criteria, its own character and tradition. "Tanavor" is also one of the works created among the people under certain conditions and in a specific direction. There are a number of legends about tanavars among the Uzbek people. They testify to the fact that the tanavars are one of the examples of music that is closely connected with folk art. In this article, we want to think about the types of tanavar, albeit briefly, its history and its role in educating young people. It is known that tanavars have their own melodies and songs among our people. But their songs can also be performed as melodies.
The phrase tanavor consists of two words. "Tan" means body, and "ovar" means to bring. Usually, the use of this term is associated with the practical traditions of the people and is widely used in a special way. It is described as follows: The first process of working with raw materials in handicraft practice is related to the adaptation of ordinary skin. The skins of domestic animals, such as cows, calves, sheep, goats, and horses, were traditionally processed and used as clothing.
In fact, the leather is completely processed and presented to the artisans who sew a piece. This ready-made leather is called "Tanavor" by artisans. Their assessments also have their own peculiarities, and we see that this criterion is directly related to the creation of music. For example, they traded with a specific size: "... 2 masculine, 2 vulnerable, 3 to 4 baby products can be made from a certain skin." The skin of an animal is made of various materials. The meaning of this is that there are several "things" (actions) made from the body. in musical language, a number of variants have been developed under the influence of a particular work. From this point of view, we see that the origin of the tanavars is connected with a work. Because no matter which of the tanavars you take, one aspect is definitely a tanavar.
Teachers note that there are about 20 examples of "Tanavor" and "Tanavor" in the Uzbek national music. In practice, they are performed on a variety of instruments and songs. Among them: "Black hair", "Tanavor 1, 2", "Wild tanavor", "Gulbahor and tanavor", "Adolcha tanavor", "Fergana tanavor", "Kokand tanavor", "Yangi tanavor", Works such as “Margilan tanavori”, “Namangan tanavori”, “Tanbur tanavori” are famous.
The example of the "Black Hair" is the one that served as the basis among the Tanavars. Known as "Black Hair", "Tanavor" is the main basis for the rest of Tanavor, which has been emphasized by master singers and musicians in the past and present. This idea is also reflected in the essence of the work. The reason why the work is called "Black Hair" is due to the fact that in the Uzbek musical heritage it is customary to name it at the beginning of a melody-based poem or ghazal or with words that are constantly repeated (at the end of a sentence). In this case, the sample begins with the following words.
My black hair grew back and fell on my eyebrows,
What trades happened to me ...
When listening to the song, the words "My black hair ..." are first mentioned, which attracts the attention of fans and listeners. That's why the song is called "Black Hair". The fact that the rest of the bodies are based on this work "Black Hair" is evident in their composition, features, methods and, in particular, the structure of the melody. The melody, fret, and other aspects of musical samples certainly need special scientific research. As tanavors are one of the closest musical samples to the hearts of our people, new aspects are opened up and articles and books are written about these rare musical samples. Because our wise people are well aware of various aspects of these works that we musicians have not yet realized. We hope that the tanavars will find their scientific basis in separate research as musical samples. This information about Tanovar can enrich the knowledge of folk music teachers about folklore and provide them with a basis for creative thinking.
It is known that the field of pedagogy of musical performance has a number of common problems. functions such as finger placement, right hand and left hand movements, and proper use of the appliqué. During the four years of study, students are required to master not only one instrument, but all instruments with practical and theoretical knowledge of their performance techniques.
For example; kashkar, afghan rubobi, kachirim and technical ornaments, forishlang, mordent, trell, etc. are also very necessary for tanbur, sato, gijjak, nay, koshnay, instruments: kashish, solo tattoo , double tattoos, pirrang - wrist tattoos, reverse tattoos ufor tattoos and so on should be carefully studied by students of the class of instruments they are especially percussion.
Kashish-Half and a whole tone of voice between the abdomen and the lower part is called glissando.
A single stroke is a single stroke that occurs when a muzzle (mediator) or nail is directed from top to bottom or from bottom to top in a net.
In a double stroke, the up and down strokes follow the same sequence
Making a sound with an arpeggio-like motion sliding from bottom to top on all strings with a wrist tattoo or muzzle.
Ufor percussion - this performance of folk dance melodies is widely used in ufors as well as in treoil rhythmic sentences. Theoretical study of traditional methods of Uzbek performance and practical mastery of genres of musical heritage In all sections of folk instruments, students begin to master the performance skills after the formation of a certain sense. Learning and performing not only enhances our technical capabilities in performance, but also broadens our musical outlook.
Conclusion. The national musical heritage of each nation has the power to express its feelings, worldviews and heartaches. If any nation loves, respects and teaches its ancient national heritage and teaches it to others, then such a perfect person will enjoy and respect that national music.
Like other nations, the musical heritage of the Uzbek people is ancient. This is reflected in our musical heritage in the national traditions of the Uzbek people, lapars, khans, aytysuvs, yallas, halpas, mavrigis, maqoms, local styles. From this point of view, along with the world and brotherly classical music culture, the Uzbek musical heritage is taught in all music schools of the Republic. In particular, at the Department of Music Education of AUL named after ZMBobur there are a circle of Uzbek national instruments - doira, kashgar rubobi, Afghan rubobi, dutar, gijjak, tambourine, chang and a number of other national musical instruments. 'is taught. No matter what musical instrument students take, they should study our national music carefully and aim to pass it on to the next generation.
List of used literature.
1. Botir Muhammad Yakubov. Don't lie to Soz. Literature and art of Uzbekistan 1993
2. G.M.Sharipova. "Music and methods of teaching it". -T., RTM. 2000.
I. Akbarov. Yunus Rajabi. - M., 1982.
3. J. Tolenov, Z. G’ofurov. “Philosophy” -T., 1991
4. Sh.Janaydarov. "Instrumental performance". -T., TDPU Publishing House. 2003.
