CONTEMPORARY MUSIC IN UZBEKISTAN AND THE CONDITIONS CREATED FOR ITS DEVELOPMENT.

CONTEMPORARY MUSIC IN UZBEKISTAN AND THE CONDITIONS CREATED FOR ITS DEVELOPMENT.

Ashurov Marufjon Abdumutalibovich

Andijan State University

Department of Music Education

(Uzbekistan)

Annotation: In this article, the author discusses the conditions created in modern Uzbekistan and its development, a new style of music, the creation of a unique work of modern music in a new musical style, the development of world music, the discovery of new creative horizons. that Uzbekistan has been able to enter the process with a worthy contribution, the development of national independence and modern music, the rise of our musical art to new heights thanks to independence, the re-establishment of cooperation with world music culture, the development of modern music performance, national pop music and singing, which had a separate performance potential in the years of independence, a new direction of our singing and music culture in the 70s of the last century, that is, the composition of the pop genre. It is accepted as a novelty in our name, t Well-known composers M.Burhanov, I.Akbarov, M.Leviyev, A.Berlin, H.Izamov, E.Solikhov, F.Kadirov, A.Muhamedov also successfully created works in the field of mass variety. The emergence of such pop singers as Zokirov, L.Zokirova, K.Jalilova, B.Mavlonov, N.Zokirov, R.Sharipova, Yu.Turaev, S.Rakhimov, the creation of the school of Uzbek pop music by the above-mentioned composers and singers, Pop songs have become popular through television and radio programs, movies and plays, concerts, and even have their own fans on the international stage.

Keywords: modern music, common type, element, word content, rhythm, timbre, melody, articulation, pitch, meaning, speech, melody, genre, historical period, composer.

MŪSDIENU MŪZIKA UZBEKISTĀNĀ UN TĀS ATTĪSTĪBAS

NOSACĪJUMI.

Ašurovs Marufjons Abdumutalibovičs

Andidžanas Valsts universitāte

Mūzikas izglītības departaments

(Uzbekistāna)

Anotācija: Šajā rakstā autore apspriež mūsdienu mūzikai radītos apstākļus un tās attīstību neatkarīgajā Uzbekistānā, jaunu mūzikas stilu, unikāla mūsdienu mūzikas darba radīšanu jaunā mūzikas stilā, pasaules mūzikas attīstību, jaunu radošo apvāršņu atklāšanu. ka Uzbekistāna ir spējusi iesaistīties procesā ar cienīgu ieguldījumu, valstiskās neatkarības un mūsdienu mūzikas attīstību, mūsu mūzikas mākslas pacelšanos jaunās virsotnēs, pateicoties neatkarībai, sadarbības atjaunošanai ar pasaules mūzikas kultūru, mūsdienu mūzikas izpildījuma, nacionālās popmūzikas un dziedāšanas attīstība, kurai neatkarības gados bija atsevišķs izpildījuma potenciāls, jauns mūsu dziedāšanas un mūzikas kultūras virziens pagājušā gadsimta 70. gados, tas ir, estrādes žanra sastāvs. ka tas ir pieņemts kā jaunums mūsu vārdā, t Masu dažādības jomā darbus veiksmīgi radīja arī pazīstami komponisti M.Burhanovs, I.Akbarovs, M.Levijevs, A.Berlins, H.Izamovs, E.Solihovs, F.Kadirovs, A.Muhamedovs. Tādu estrādes dziedātāju kā Zokirovs, L.Zokirova, K.Jalilova, B.Mavlonovs, N.Zokirovs, R.Šaripova, Ju.Turajevs, S.Rakhimovs attīstība, iepriekš minēto komponistu un dziedātāju uzbeku popmūzikas skolas izveide Popdziesmas ir kļuvušas populāras, izmantojot televīzijas un radio programmas, filmas un lugas, koncertus, un tām pat ir savi fani uz starptautiskās skatuves.

Atslēgas vārdi: mūsdienu mūzika, parastais veids, elements, vārdu saturs, ritms, tembrs, melodija, artikulācija, piķis, nozīme, runa, melodija, žanrs, vēsturiskais periods, komponists.

MUSICA CONTEMPORANEA IN UZBEKISTAN E CONDIZIONI PER IL SUO SVILUPPO.

Ashurov Marufjon Abdumutalibovich

Andijan State University

Dipartimento di educazione musicale

(Uzbekistan)

Annotazione: in questo articolo, l'autore discute le condizioni create per la musica moderna e il suo sviluppo nell'Uzbekistan indipendente, la creazione di un nuovo stile musicale, un'opera musicale moderna unica in un nuovo stile musicale, lo sviluppo della world music, la scoperta di nuovi orizzonti creativi. che l'Uzbekistan è stato in grado di entrare nel processo con un degno contributo, lo sviluppo dell'indipendenza nazionale e della musica moderna, l'ascesa della nostra arte musicale a nuovi livelli grazie all'indipendenza, il ristabilimento della cooperazione con la cultura musicale mondiale, lo sviluppo della performance musicale moderna, della musica pop nazionale e del canto negli anni dell'indipendenza con un potenziale di performance separato, una nuova direzione del nostro canto e della nostra cultura musicale negli anni '70 del secolo scorso, cioè la composizione del genere pop, che che è accettato come una novità a nostro nome, t Anche noti compositori M.Burhanov, I.Akbarov, M.Leviyev, A.Berlin, H.Izamov, E.Solikhov, F.Kadirov, A.Muhamedov hanno creato con successo opere nel campo della varietà di massa. Lo sviluppo di cantanti pop come Zokirov, L.Zokirova, K.Jalilova, B.Mavlonov, N.Zokirov, R.Sharipova, Yu.Turaev, S.Rakhimov, la creazione della scuola di musica pop uzbeka da parte dei suddetti compositori e cantanti, Le canzoni pop sono diventate popolari attraverso programmi televisivi e radiofonici, film e spettacoli teatrali, concerti e hanno persino i loro fan sulla scena internazionale.

Parole chiave: musica moderna, tipo comune, elemento, contenuto della parola, ritmo, timbro, melodia, articolazione, altezza, significato, discorso, melodia, genere, periodo storico, compositore.

СОВРЕМЕННАЯ МУЗЫКА В УЗБЕКИСТАНЕ И УСЛОВИЯ ЕЕ РАЗВИТИЯ.

Ашуров Маъруфжон Абдумуталибович

Андижанский государственный университет

Кафедра музыкального образования

(Узбекистан)

Аннотация: В статье автор рассматривает современную интернациональную музыку в независимом Узбекистане и условия, созданные для ее развития, новый стиль в музыке, создание уникального современного музыкального произведения в новом музыкальном стиле, развитие мировой музыки, открытие новых творческих горизонтов. что Узбекистан смог войти в этот процесс, внося достойный вклад, в развитие национальной независимости и современной музыки, подъем нашего музыкального искусства на новые высоты благодаря независимости, возобновлению сотрудничества с мировой музыкальной культурой, развитие современного музыкального исполнительства, национальной эстрады и пения, имевших отдельный исполнительский потенциал в годы независимости, новое направление нашей певческой и музыкальной культуры 70-х годов прошлого века, то есть композиция жанра эстрады. что это принято как новинка в нашем имени, т Известные композиторы М.Бурханов, И.Акбаров, М.Левиев, А.Берлин, Х.Изамов, Э.Солихов, Ф.Кадыров, А.Мухамедов также успешно создали произведения в области массовой эстрады. Развитие таких эстрадных исполнителей, как Зокиров, Л.Зокирова, К.Джалилова, Б.Мавлонов, Н.Зокиров, Р.Шарипова, Ю.Тураев, С.Рахимов, создание школы узбекской эстрады названными композиторами и певцами, Поп-песни стали популярными благодаря теле- и радиопрограммам, фильмам и пьесам, концертам и даже имеют своих поклонников на международной арене.

Ключевые слова: современная музыка, общепринятый тип, стихия, словесное содержание, ритм, тембр, мелодия, артикуляция, высота, значение, речь, мелодия, жанр, исторический период, композитор.

O’ZBEKISTONDA ZAMONAVIY MUSIQA VA UNING RIVOJLANISHIDA YARATILGAN SHART-SHAROITLAR.

Ashurov Ma’rufjon Abdumutalibovich

Andijon davlat universiteti

Musiqa ta’limi kafesrasi

(O’zbekiston)

Annotatsiya: Ushbu maqolada muallif mustaqil O’zbekistonda zamonaviy musiqa va uning rivojlanishida yaratilgan shart-sharoitlar, musiqada yangicha uslub, yangicha musiqiy uslubda noyob zamonaviy musiqa asarini yaratish, jahon xalqlari musiqasi rivojlanishini hisobga olib, tobora yangidan - yangi ijodiy ufqlarni ochib berish bilan tavsiflanuvchi baynalminal jarayonga O‘zbekiston o‘z munosib ulushi bilan dadil kira olganligi, milliy istiqlol va zamonaviy musiqa taraqqiyoti, istiqlol sharofati bilan o’tgan davrlar mobaynida musiqiy san'atimiz yangi bosqichlarga ko’tarilganligi, jahon musiqiy madaniyati bilan xamkorlik rishtalari yangidan bog’langanligi, zamonaviy musiqa ijrochiligi taraqqiyoti, mustaqillik yillarida aloxida ijrochilik saloxiyatiga ega bo’lgan milliy estrada musiqasi va qo’shiqchiligi, o’tgan asrning 70-yillariga kelib qo’shiqchiligimizning va musiqa madaniyatimizning yangi yo’nalishi, yani estrada janri tarkib topishi, bu esa san'atimizda yangilik deb qabul qilingnligi, taniqli kompozitorlar M.Burxonov, I.Akbarov, M.Leviyev, A.Berlin, X.Izomov, E.Solixov, F.Qodirov, A.Muxamedovlar ommaviy estrada yo’nalishida xam muvaffaqiyatli ijod qilganliklari, o’zbek estradasining dastlabki B.Zokirov, L.Zokirova, K.Jalilova, B.Mavlonov, N.Zokirov, R.Sharipova, Yu.To’rayev, S.Raximov singari estrada xonandalari yetishib chiqishi, yuqorida tilga olingan kompozitor va xonandalar o’zbek estradasining maktabini yaratganligi, estrada qo’shiqlari teleradio dasturlari, kino va saxnaviy asarlar, konsertlar orqali ommalashishi va o’zining muxlislariga ega bo’lganligi hamda xatto xalqaro saxnalarda xam o’z o’rnini topganligi yoritib berilgan.

Kalit so’zlar: zamonaviy musiqa, mushtarak tur, unsur, so‘z mazmuni, ritm, tembr, melodika, artikulyasiya, balandlik, ma'no, nutq, kuy chizig‘i, janr, tarixiy davr, kompozitor.

Contemporary music should be studied as a common art form. All its elements are interconnected, enriching each other and forming a complex system. Vocal music refers to works that are intended to be performed with or without the accompaniment of one or more singers. In most cases, modern music is associated with words, ceremonies, or stage movements. When a melody is connected with a word, it not only reflects its meaning, but also conveys the meaning under the text. The text-to-text-music relationship can be complex and variable, but it can never be completely free in a work of art. Therefore, even if different musical compositions are written in the same text, in each of them you can find different connections between the music and the text.

In modern music, the meaning of a word is associated with its means of expression, the rhythm, melody and syntax of the melody. Rhythm, timbre, melody, articulation, pitch together form the language (speech) of music. It's not just the words, it's the music. The rhythmic range includes relationships between short and long sounds, accents, sentence breaks, pauses, tempo, and syntax in general. These commonalities allow us to study and analyze the unity and difference of words and music.

There are commonalities between the meaning of a word and its melody, as well as between all means of expression. By melody we mean the definition of the pitch of the sounds of a melody. There are many common descriptions of the melody of speech and the melody of music. When analyzing a work of contemporary music, the first question that arises is the artistic relevance of the musical image to the character and image of the poetic or prose text. This compatibility can be generalized or detailed. The approach to the poetic text determines the character of the vocal and modern musical melody, the form of the musical work. The relationship between music and text is determined by a variety of factors. This or that genre, historical period, the style of a particular composer and other factors are among them. Modern musical works are often based on poetic texts, so the poetic dimensions and the character of the poem associated with them influence the structure of the vocal melody, its rhythm and image. But the impact of poetry on musical rhythm is not limitless. The rich musical possibilities allow the composer to interpret the rhythm of the poem in different ways. The classification of the principles of expression of a poetic text in music is based on the relationship between the rhythm of the poem and the rhythm of speech with the rhythm of music.

The first principle is metric. It is based on the poetic turok (stopa); the weight and size of the poem are restored, and the missed accents are restored to the melody. This means that vowels that do not have the same accent will have accents.

The second declamation principle is the opposite of the first. It is based on the syntax of the poem, the rhythm of speech. Special attention is paid to the word, the syntagm, so the rhythm of the declamation melody is symmetrical and rich in colorful rhythmic beats. At the same time, the importance of sensations and pauses, which slow down speech, become words, phrases, syntagms and even words. This style is especially typical of the monologue genre.

The principle for expressing poetry is cantilene. In it, the poetic rhythm, the speech rhythm in general, "melts" into the musical rhythm. The syntax of the text, as opposed to the cantilene from the declamatory melody, does not correspond to the musical syntax. Motives are not identical at all, as they often combine to form broad phrases. In some cases, the musical phrase contains one word, and in coloratura, one syllable.

The fourth principle is dancing. Although it is not always possible to determine the specific genre of the game in this type of melody, they clearly show the features of the game in general (repetition of rhythmic figures, the importance of the metro rhythm, motor skills, mobility ...).

In many cases, the rhythm of the poem and the game may not match. The mismatch of accents is not constant (other than in the parody genre), and often only certain accents do not match.

Fifth - the ariozole principle is reminiscent of the declamation principle. In doing so, the composer relies on syntax, not poetic meter. However, if the declamation is based on a phrase, the phrase or syntagm of the text, which is inseparable from the musical phrase, is taken. Music and speech have one main accent and one additional accent. In the Ariozoli melody, the rhythm of the phrase is smoother and faster than in the declamation melody, and the movement is based on the semicircles. An arithmetic melody is a repetition of a phrase of the same length. In it, the rhythm is expressed in syllabic stretching (stretching the vowels), emphasizing the emphasis in the phrase. Ariozoli can be found in many romances.

The five principles of expressing the above-mentioned text in music can be found in a "pure" way, but they can also be combined and connected in one play. For example, the combination of the principles of ariozo and declamation with the cantilena can be seen in Dargomijsky's novel "I'm sad", the connection of the principle of dance with the cantilena, Glinka in the novel "I'm here inezilya". Thus, when analyzing vocal melody, it is important to identify the guiding principle (or exchange of principles) of vocalization and how it changes as it develops.

A new style in music.

Uzbekistan has been able to enter the international process, which is characterized by the creation of a unique work of modern music in a new musical style, the development of music of the peoples of the world, the opening of new creative horizons. Having rapidly passed the stages of professional development and reached the stage of comprehensive maturity, the "Uzbek School of Composers" aspired to take its rightful place in the world music culture.

The degree of propensity for such creativity, which emerged mainly in the second half of the twentieth century, is also characterized by the fact that in our country there is an integral common tradition of the two categories of musical thought, which previously existed separately. That is why the artistically harmonious, classical works of different genres, created in a multi-voiced style, have further enhanced the global potential of our spiritual values. Let us recall that Uzbek symphonic music, a new trend in our musical culture, took the lead in the 70s and 80s.

Uzbek poems, suites, overtures, fantasies, musical instruments, which have been successfully performed at prestigious cultural events, concerts, competitions and festivals in our country, neighboring and a number of foreign countries. concerts and symphonies have repeatedly attracted the attention of the international music community. Today, Uzbek music is gaining international recognition not only in its original traditional forms, but also in the field of composition. In this sense, pure instrumental music, especially his more complex symphonic works, deserves special attention.

Nowadays, the composition of our republic is not only an experiment in writing and researching in various musical genres, but also a productive movement with a unique tradition, a treasure trove of classical samples. It consists of unique and inimitable works created on the basis of folk melodies in different years. After all, the qualities of music composed in any style, such as nationality, artistic perfection, originality, content, impact, are always valuable. The longevity of works based on ancient national traditions with high professionalism, deep knowledge and delicate taste can be seen only in the example of Uzbek symphonic music. For example, Alexei Kozlovsky's passionate poem "Tanovar" for the voice and symphony orchestra, created in the second half of the 1930s, the suite "Lola" and Glier's festive overture "Fergana Holiday" continue to delight the audience.

Among the works of immortal discovery to be performed with the participation of the symphony orchestra are Mutal Burhanov's "Poem to Alisher Navoi" for solo, choir and symphony orchestra, a number of symphonic works by Mukhtor Ashrafi, Georgiy Mushelp, Sulaymon Yudakov, Doni Zokirov's "Lyric Poem" , Boris Nadezhdin's suite "To children", Ikrom Akbarov's "In memory of the poet", "Epic poems", "Samarkand stories" series, Sayfi Jalil's "Samarkandnoma" symphony, Tolkin Kurbanov's symphonic melodies, Mirsodiq Tadjiev's "Poet's love" and 19 The works of Mirkhalil Mahmudov, Nurilla Zokirov, Mustafo Bafoev, Rustam Abdullayev, Habibullo Rakhimov, Bahrullo Lutfullayev and others have made a worthy contribution to the development of our musical culture. The development of music in our land dates back to three thousand years.

During these difficult times, our musical culture has many times gone through a long period of development and has served as a basis for the spiritual wealth of our people for goodness and progress. That is why we have a very rich, colorful, wide-ranging, stylistic diversity, a truly invaluable musical heritage. In the Middle Ages, only in the classics of classical art was there such a magnificent system as "Twelve maqoms", on the basis of which were formed Bukhara and Khorezm maqoms, Fergana-Tashkent maqoms, traditional performance and trumpet ways, folk composition. creativity, the art of musical narration has been enjoyed as the source of our musical culture.

It is difficult to find a place where our national music can be compared to the rest of the world in terms of the variety of categories of our national instruments, the uniqueness of the unique traditions of solo and percussion. Our compatriot Abu Nasr Farobi, who is recognized all over the world as the founder of Oriental music, Abu Ali ibn Sino, Abdulkadir Maraghi, Abdurahman Jami, Alisher Navoi, Zaynulabiddin Husseini, Kavkabi Bukhari, Darvish Ali Changi and others are unique theorists of Eastern world significance. are also widely known as the author of classical musical works, developing aesthetic views. Thanks to our folk and masterly musical culture, which has come down to us through such popular and instructive layers, in a very short period of history, a new, multi-voiced national composition has been formed in Uzbekistan, gained its image and developed rapidly. In this, our folk music, especially the traditions of maqom, not only predicted the vitality, but also served as a fertile ground.

As you know, the art of glorious status is the most valuable and honorable treasure of our national spiritual property. Its original specimens have been used for generations. Even when it was officially banned for large-scale propaganda, the status quo remained practical. The high consciousness, taste, spiritual needs and requirements of our people have been nourished by the creative work of the composer, masterful singing and musical performance. That is why such masters of art have always been valued and respected among our people. Thanks to the great independence, our musical culture has got rid of the old political and ideological pressures. At the same time, it has created an unprecedented opportunity for the full revival of our ancient classical traditions, especially in educating the younger generation to a level of knowledge, literacy and spirituality.

In particular, it is during the period of independence that we are able to observe the revival of new creative potential in the performance of the old status quo and traditional creativity. At the same time, it should be noted that many of our talented young musicians are growing up in the field of modern European music, including piano, string, percussion and percussion, academic singing. It is gratifying that many of them are participating in prestigious international competitions in the country and abroad, winning and receiving prizes.

In short, the role of our musical culture in the spiritual life of the people is invaluable. Musical culture is an integral part of the spiritual world of the people, it has always met its spiritual needs and has always been sympathetic and grateful. After all, even in today's era of independence, he considers his spiritual duty sacred and serves our people. That is why our music culture has become a huge creative field today.

National independence and the development of modern music.

Thanks to independence, our musical art has reached new heights. Collaboration with world music culture has been re-established. Considering the rich musical heritage of the Uzbek people, the commonality of oriental music culture, the role of our esteemed President in the world cultural heritage is great. This music has been purifying people's hearts and raising their spirits for thousands of years. ”

Indeed, the contribution of Uzbek music to world music today is invaluable. The success of popular artists such as Turgun Alimatov, Abduhoshim Ismoilov, Munojot Yulchiyeva, Yulduz Usmanova, Nasiba Abdullayeva, Yalla, Sogdiana and the National Symphony Orchestra on the world stage is commendable. Also, over the past twelve years, a number of talented young people have won prestigious international competitions and festivals. Piano performers Ulugbek Polvonov, Gulnora Alimova, Nargiza Alimova, Irina Gulrzarova, Rustam Abdullayev, young singers - Anna Guzairova, Saida Mamadalieva, Sevara Nazarkhanova, archers - Dilshod Nazarov, Sunnat Ibrokhimov, Marina Sarkisova, Anastasia Yudenich, Ali Izmaylov is one of them.

During the years of independence, a number of decrees and resolutions of the President have been issued in the field of development of our musical culture.

These include:

- On the establishment of the Uzbeknavo tour-concert association (1996),

- On the celebration of the song festival "Uzbekistan - my homeland" (1996),

- On the improvement of music education, culture and art in the country (1996),

- Decrees and resolutions on the further development of pop art in Uzbekistan (1998, 2001) are a step towards the further development of music in the country.

In particular, the Sharq Taronalari International Music Festival, which has been held in Samarkand every two years since 1997, has further enhanced the country's prestige in the international arena. Representatives of more than 40 countries of the world are taking part in this prestigious conference. The Uzbek singers and performers have won prizes at the festival. In addition, the holding of the International Symphonic Music Festival in Tashkent since 1998, with the participation of prominent conductors and performers from around the world, the holding of the XX International Festival of Contemporary Chamber Music since 1995 - Ilkhom - also enhances the prestige of our musical art. increases.

The celebrations of Independence and Navruz, which have been held since the first year of independence in the spirit of great uplift, have also made a significant contribution to the development of our music.

Folklore, traditional professional music, music in the spirit of military patriotism, performances that combine the unique musical aspects of each region have risen to a high level of professionalism. In particular, the songs in the spirit of national pop music have discovered new stars of our variety. Also, concert programs dedicated to the anniversaries of Bukhara, Khiva, Termez, Nukus, the 2700th anniversary of the Avesto, the 1000th anniversary of the epic Alpomish, the memory of our great ancestors such as Amir Temur, Mirzo Ulugbek, Al-Fargani. The concert programs dedicated to the dates of the 20th anniversary of the independence of the Republic of Uzbekistan also testify to the growth of our musical performance. At all these major events, new musical programs were formed.

The concert was broadcast live on television in more than 50 countries. During the years of independence, great attention was paid to the national music of the Uzbek people, which has become a beautiful spiritual treasure for centuries. The performance of folk music has reached a high level.

The fact that a number of contests dedicated to this area have been held in the past is a proof of our opinion.

1. Great singing and family ensembles (Kokand, 1991, Shakhrisabz, 1994);

2. Performers of God (Tashkent, 1992, 1994, 1998, 2000; Margilan, 1996);

3. Performers of wedding songs (Tashkent, 1993);

4. Competition of folklore and ethnographic communities "Spring" (Tashkent, 1994);

5. Young singers "Istexdod" (Tashkent, 1995);

6. Bakhshi - poets (Denov, 1991, Narpay, 1993, Tashkent, 1995, 1997, Termez, 1999);

7. Ensembles of maqom performers and folk instruments (Shakhrisabz, 1996);

8. Surviving images (Tashkent, 1996, 1997, 1998);

9. Family ensembles (Jizzakh, 1998);

10. Folklore and ethnographic ensembles (Tashkent, 1999);

11. Young singers named after M. Uzokov and J. Sultanov (Margilan, 1997, 1999, 2001);

12. Young singers named after Khoji Abdulaziz Abdurasulov (Samarkand, 1997);

13. Young singers named after Komiljon Otaniyozov (Urgench, 2001);

14. Performers of the IV International and V Republican Status named after Yunus Rajabi (Tashkent, 1995, 1999);

15. TV ensembles of family ensembles (1995) and folklore and ethnographic groups (1996) are among them.

During the past years of independence, the direction of folk music has reached a new level. Musical folklore retains its natural performance, costumes and musical expression in terms of the ethnic location of our people, in terms of the traditions of all oases. As a novelty, there are new performances of folklore in line with the national variety. These scenes indicate that folk music has reached a stage of renewal.

Creating in this genre in our country:

- Five applause;

- Boysun;

- Gulyor;

- Omonyor;

- Flowers;

- Doston;

- Besperde;

- Dream;

- Yor-yor;

- Chavgi;

- Many ensembles, such as Moxi Sitora, set an example with their brilliant creations.

Significant work has also been done in the field of classical and traditional folk music. Our traditional professional music, inherited from the depths of centuries and inherited from our ancestors, continues the new rich traditions.

The creative work of famous composers, singers and musicians such as Turgun Alimatov, Orifkhon Khotamov (deceased), Fattokhon Mamadaliev (deceased), Gulomjon Khodzhikulov, Abdukhoshim Ismoilov, Olmas Rasulov, Temur Mahmudov, Mamasiddiq Madaliyev is a vivid example in this regard. la takes. The role of hafiz and singers in conveying this status and traditional ways to the people is invaluable. New generations of security guards are emerging. One of the leading areas of our musical heritage, folk art and epic poetry, is also developing rapidly. The celebration of the 1000th anniversary of the Alpomish epic is a new step in this direction.

During the years of independence, a lot of work has been done to develop classical folk singing and folk art. In this regard, by the decree of the President:

- People's Guard of the Republic of Uzbekistan;

- The establishment of honorary titles of People's Bakhshi of the Republic of Uzbekistan testifies to the attention paid to this area.

The services of Uzbek musicologists in the scientific analysis of folk music and the connection of musicology with practice are also invaluable. As a result, a number of textbooks, monographs, scientific articles are published in this regard. As a result of scientific research, new research works are emerging. All this serves as an important factor in the study and performance of classical professional music of folk music in a scientifically based direction.

Development of modern music performance.

It is worth mentioning the national pop music and singing, which during the years of independence had a special performance potential.

By the 70s of the last century, a new direction of our singing and music culture, the pop genre, was formed. This was accepted as a novelty in our art. Well-known composers M. Burkhonov, I. Akbarov, M. Leviev, A. Berlin, H. Izomov, E. Solikhov, F. Kadyrov, A. Mukhamedov have also successfully performed in the field of popular music.

The first swallows of Uzbek pop music have appeared. B. Zokirov, L. Zokirova, K. Jalilova, B. Mavlonov, N. Zokirov, R. Sharipova, Yu. Pop singers such as Turaev and S. Rakhimov are among them.

The above-mentioned composers and singers created a school of Uzbek pop music. Pop songs became popular through TV and radio programs, movies and plays, concerts, and gained their fans. It has even found its place on the international stage.

The success of the famous pop singer, the indelible star of Uzbek pop music Botir Zokirov on the world stage has introduced Uzbek pop art to the world. His songs, which he sang in his native language as well as in various languages, served as a bridge for our variety to appear on the world stage.

During the years of independence, our pop art has reached a new level. In these years, the Presidential decrees on the establishment of the Uzbeknavo touring and concert association, the celebration of the song festival Uzbekistan - My Homeland, the further development of pop art in Uzbekistan marked the way forward. .

"Ofarin", "Mother Earth Stars", "Nixol" prizes were awarded. New performers were discovered. Variety groups, groups, and individual young performers began to succeed at international festivals, competitions, and concerts. Following in the footsteps of Uzbek pop singers Farrukh Zokirov and Yalla Vocal Ensemble, Mansur Toshmatov, Gulomjon Yakubov, Nasiba Abdullayeva, a new generation of pop musicians is creating. Yulduz Usmonova, Kozim Kayumov, Kumush Razzokova, Nuriddin Khaydarov, Ravshan Nomozov, Azim Mullahanov, Fiyos Boytokev, Mavluda Asalkhujaeva, Yulduz Abdullakeva, Mardon Mavlonov, Sofiya Saftarova, Saloxiddin Azizbokev, Mohira Asadova, Gulbaxoridalarova, Shona Nurlasidova.

The work of Yulduz Usmonova, a bright star of modern Uzbek pop art, deserves praise. Dozens of songs performed by him have become the favorite songs of our people, especially young people. My people, Be a people, my people, We will not give you to anyone, Uzbekistan !, Songs like the world were recognized as the best songs of the years of independence. As a result of his touring concerts in foreign countries, the number of his fans abroad is growing.

The works of young pop groups and singers are also prospering. Dozens of promising young singers such as Rashid Kholikov, Nilufar Rakhmatova, Ilhom Farmonov, Sevara Nazarkhan, Shakhlo Rustamova, Doston Ubaydullayev, Anvar Sanaev, Abdulaziz Karim, Tokhir Sodikov, Dilfuza Rakhimova, Anvar Faniyev, Abdulla Kurbanov, Nodir Lutfullayev are examples of this. 'la gets.

During the years of independence, the genre of children's music also appeared in a new light. Composers such as Nadim Norhujayev, Avaz Mansurov, Dilorom Omonullayeva, Alisher Rasulov are actively working in this field. Examples of songs are Bng - Our Turkestan Child, Healthy Generation, Humo Bird, Ramadan, White Poplar, Blue Poplar, Istiqlolim, Ozim Aylanay.

Today Sarvar Koziyev and Kars group, Tashkent, Manzur, Muhammadjon Ruzimuhammedov and Shofayz, Doniyor Mamedov and Bayram, Abdulla Shomagrupov and Nola, Rashid Khalikov and Shahzod, Sevara Nazarkhan and Sideriz, Tokhir Sodiqov and Children, Khoja, Taj, Setora groups form the main boogie of pop music.

Of course, along with the achievements of today's pop music, it is worth mentioning its shortcomings. Because there are a lot of opinions about it. Debates are being held on television and speeches are being made in the press. First of all, it is necessary to better understand the meaning and essence of the term national variety. Why the term National Variety? Bakhshi is a young pop singer who believes that pop music should not be a nation, it should be mixed with world pop music. On the one hand, this may be a certain point of view on the way to world pop music, but on the world stage, in the name of Uzbek national pop music, based on the very rich musical heritage of our people, it is worthwhile to create and perform songs. should be appropriate.

An example of this is the Yalla Ensemble, led by Farrukh Zokirov, who has been creating music for more than thirty years. With its international performance, the ensemble still holds the baton in its hands and meets today's demands.

Currently, the number of songs sung in Uzbek using Turkish, Iranian, Arabic, French, English and German pop music is growing. This is definitely a sad situation. On the other hand, there are also poems of unknown authorship, consisting of shallow words, measured by the method of tones in floppy disks.

This, of course, has a negative effect on the level of the song. As a result, hundreds of memorable one-off or seasonal songs are proliferating. It should also be noted that in the performance of songs in the spirit of the national variety, the traditional songs and favorite songs of our people, folk songs, popular songs are performed in a distorted way. sucks. It would be expedient to rely on international methods of performance, to master each performance, and to use this performance as a leitmotif. We leave it to the singers themselves to implement these ideas.

Today, there is every opportunity for the development of national pop music, and its development has risen to the level of public policy, which requires every artist to create effectively, to create songs and melodies that will please our people. Our art-loving people have always respected their true creators and selfless artists. After all, modern Uzbek pop art is rich in talented young artists and has the potential to justify the trust of our people.

In general, due to national independence, independent Uzbekistan is striving for the rapid development of all aspects of our musical culture.

List of used literature:

1.    Avdeyeva L.A, Kadyrov M.H, Ismatova Yu., "Tanavor" dance polishes, T., 2002.

2.    Evdokimov Y., Simakova N., Music of the Renaissance M., 1982;

3.    Ibragimov O., Status and place, T., 1996.

4.    Kadyrov M., Uzbek folk art, T., 1981;

5.    Khairullayev M.M, Early Renaissance culture in Central Asia, T., 1994;

6.    Khairullayev M.M, Farobi and his philosophical treatises, T., 1963;

7.    Matyoqubov O., Maqomot, T., 2004.