GOALS AND OBJECTIVES OF VOCAL AND MODERN MUSIC.

GOALS AND OBJECTIVES OF VOCAL AND MODERN MUSIC.

Ashurov Ma’rufjon Abdumutalibovich

Annotation: In this article, the author discusses the teaching of vocal and modern music in higher education, the objectives of teaching science, the history of singing and Uzbek folk singing, the concept of song and its role in human life. giving full details.

Keywords: Vocal, modern music, professional, science, purpose, task, singer, student, artist, development, legato, staccato.

VOKĀLĀS UN MODERNĀS MŪZIKAS MĒRĶI UN MĒRĶI.

Anotācija: Šajā rakstā autore apspriež vokālās un mūsdienu mūzikas mācīšanu augstākajā izglītībā, zinātnes mācīšanas mērķus, dziedāšanas un uzbeku tautas dziedāšanas vēsturi, dziesmas jēdzienu un lomu cilvēka dzīvē. sniedza detaliztu informciju par rni.

Atslēgas vārdi: Vokālā, mūsdienu mūzika, profesionālā, zinātne, mērķis, uzdevums, dziedātājs, students, mākslinieks, attīstība, legato, staccato.

OBIETTIVI E OBIETTIVI DELLA MUSICA VOCALE E MODERNA.

Annotazione: in questo articolo, l'autore discute l'insegnamento della musica vocale e moderna nell'istruzione superiore, gli obiettivi dell'insegnamento della scienza, la storia del canto e del canto popolare uzbeko, il concetto di canzone e il suo ruolo nella vita umana. fornito informazioni dettagliate su rni.

Parole chiave: vocale, musica moderna, professionale, scienza, scopo, compito, cantante, studente, artista, sviluppo, legato, staccato.

ЦЕЛИ И ЗАДАЧИ ВОКАЛА И СОВРЕМЕННОЙ МУЗЫКИ.

Аннотация: В этой статье автор рассматривает преподавание вокала и современной музыки в высших учебных заведениях, задачи преподавания естественных наук, историю пения и узбекского народного пения, понятие песни и ее роль в жизни человека. предоставление полной информации.

Ключевые слова: вокал, современная музыка, профессионал, наука, цель, задача, певец, студент, художник, развитие, легато, стаккато.

VOKAL VA ZAMONAVIY MUSIQA FANINING MAQSAD VA VAZIFALARI.

Annotatsiya: Ushbu maqolada muallif oliy ta’limda Vokal va zamonaviy musiqa fanini o’qitilishi, fanni o’qitishning maqsad vazifalari, xonandalik ijrochiligi va o’zbek xalq qo’shiq ijrochiligi tarixi, qo’shiq – aytim tushunchasi va uning inson hayotidagi o’rni haqida to’liq ma’lumotlar berib o’tgan.

Kalit so’zlar: Vokal, zamonaviy musiqa, professional, fan, maqsad, vazifa, xonanda, talaba, artist, rivoj, legato, stakkato.

Objectives of science teaching. Vocal and contemporary music is one of the disciplines that teaches music education to students performing vocal and contemporary music (pop singing). Theoretical knowledge of vocal performance and modern music-pop singing plays an important role in educating students as highly qualified specialists.

 This knowledge will to some extent help students in the field of music education to develop their professional skills in vocal and pop singing in the future in preschool and secondary schools.

 The main purpose of the science of vocal and modern music is to cultivate the aesthetic and artistic taste of future music teachers through the art of vocal, to form the skills of singing in a professional style.

 Particular attention should be paid to the technical development of the sound system, the development of artistic skills and education at a high artistic level. The student has a broad outlook on the subject in accordance with the requirements of the time, that is, the history of human culture, the stages of development, in particular, the world music programs in the emerging computer system, have knowledge, imagination, knowledge and skills. provides sufficient knowledge on the subject.

 Among the main tasks of the science are to educate and train students in the classroom, to train them as well-educated, highly qualified specialists who fully meet world standards, to develop vocal and pop singing systematically, consistently, from simple to complex, to master individual performance skills. introduces a number of didactic aspects such as the approach.

Knowledge of the structure and movement of the vocal cords in vocal and modern music (pop singing), the basic concepts of vocal and pop singing, sound formation and its types, singing breath, articulation, intonation and dynamic signs, breathing ribs to take it from the bottom, mainly from the abdomen, and to spend it sparingly, to sing loudly in all registers, to sing pure and clean, to pronounce words according to the rules of orthoepy, to sing with different sound attacks, to sing in legato and staccato, Maneuver performance of classical and modern stylistic directions of Uzbek and European pop and vocal works, independent creative work and concert activities with solo and various groups, knowledge and observance of the rules of free use of the microphone, singer's voice registers and artistic technical capabilities, voice use and putting exercises, as with the reader skills such as working on ar and preparing to go on stage.

It is also written for future musicians to know the secrets of vocals and sing in a highly professional style, to sing as a soloist accompanied by a musical instrument and in unison or polyphonic ensembles, for vocal and musical instruments. analysis of works in terms of strokes, style and character, pedagogical activity in the system of primary and secondary education, development of the student's voice, elimination of defects in the voice, the choice of program for the student, on the program performance, stages of history and development of pop singing, ways of working with the minus of the singer and phonogram, classical and modern stylistic directions of pop music, vocal sound registers, volume and sound capabilities, reading and analysis of vocal note texts basic concepts of singing pedagogy, classification of singing voices, psychology of musical abilities, structure of sound apparatus and works, knowledge of Uzbek and world-famous pop singers.

The main content of the course is to study the skills and physiology of sound formation and its application in practice, as well as the acquisition of vocal and pop singing skills.

Song is the concept of saying and its place in human life. The history of the Uzbek people and its musical performance is as rich and colorful as history itself. He tried to express the role and status of the population in public life for thousands of years, their joys and sorrows through songs and melodies. In our view, he won it. The love for music, including singing, has permeated the minds and hearts of the people through the blood of the people.

From time immemorial, man has expressed his reaction to what is happening in the environment. This attitude was realized, first of all, through various actions, voices, passions. Emotions were later expressed in words, phrases, and dances. Later, people came up with fabricated stories that explained the origin of the world, nature, animals, plants, mountains, and water. Guys and girls weave love songs. There are legends and myths about the brave and courageous young men of the tribe, about their extraordinary heroism. All of this was popular among the people who lived in communities before the writing culture came into being.

It is well known that the art of music is an inexhaustible source of aesthetic perception. It is a fascinating world that captures the human heart and soul. Man always strives for beauty, loves it and enjoys it. She also follows these rules of beauty in her daily life and uses them wisely.

 The songs are connected with all aspects of the social life of the people, they are a unique art that has gone through certain stages of historical development, artistically depicting life in unique images, depending on the level of human thinking. The most ideologically and artistically popular traditional songs of our people express the life, livelihood, dreams, sorrows, joys and hopes for the future of the people. There was also a powerful voice in the fight against violence, freedom, and injustice. The content of the songs is expressed through the artistic assimilation of the lyrical idea of ​​the event, that is, through the attitude, emotion and mood to the events and happenings.

 Singing is an ancient and widespread form of poetry, the highest form of art. The words of the song can be read in the famous work of the linguist of the XXI century Mahmud Kashgari "Devoni lug'atit turk". In the study of the long history of traditional Uzbek folk songs, there are many scattered songs on the three roofs of the "Devoni lug'atit turk", but even a thousand years ago, the diversity of songs can be traced back to the family. , labor, seasonal rituals, and the proliferation of love-themed songs, it can be seen that they are songs from language expressions, weights, rhymes. With the help of songs collected by Mahmud Kashgari among tribes such as Chegil and Kipchak, it can be said that songs formed a part of the literary basis necessary for the emergence and development of Uzbek written literature. It would be true to acknowledge the Devonian Quartet as examples of written literature based on folk songs.

 The lyrics of the song are also found in the famous encyclopedic scholar Yusuf Khas Hajib's Qutadgu Bilig. The word song once meant poetry, and folk poetry was called by that term, used as a generalizing term. Such a wide meaning of the song is still preserved among the people. For example, folk poets, storytellers, and princes say "I sang" and "I sang" if they wanted to express what they were saying. But the term song is often used. This means that the song has a wide meaning in Uzbek, which means the combination of poetry and melody. The true meaning of art is determined by the social moral norms of a person and his life for a certain period of time, and beauty is enjoyed by the senses. Songs, which are one of the main genres in the Uzbek folklore, reflect the life of the people, the norms of morality through a unique art. People's inner world, ideas, hopes, dreams and confidence in the future are also characterized by originality.

From the history of Uzbek folk song performance. Al-Farabi, a scholar among famous Central Asian musicians who pays great attention to music education, expresses many scientific and practical ideas on the issues of educating the younger generation. He is also the founder of music theory. Well-known scientist, philosopher, musicologist Jami's book "Risolai dar ilmi musiqa" tells about the proportions of composition, mood and rhythm. The Uzbek poet Alisher Navoi also had a great knowledge in the field of music. His musical aesthetic views are reflected in such works as "Sabbai-Sayyar", "Mahbub-ul qulub", "Hamsa".

Like all nations, the Uzbek people have a rich musical heritage that goes back a long way, with its rich national spiritual values, customs and traditions. Its music, melodies and songs define the way of life, psyche and potential of the Uzbek people. This national musical heritage is extremely rich and multi-genre.

It is known from history that the musical heritage of the Uzbek people is limited to certain situations and conditions passed from mouth to mouth, from teacher to student, from father to son, from mother to daughter (family ceremony, seasonal Works in many musical genres, such as ceremonies, labor songs and religious sayings, free-themed lapar, yalla, national anthem, classical singing, national anthems and epics, shashmaqom, Tashkent-Fergana maqom, Khorezm maqom traditional and enduring. Today, they form the basis of our national spiritual music values.

Promotion of classical works, which are the foundation of the national musical culture, in higher and secondary special education institutions, including pre-school education, out-of-school, secondary schools, academic lyceums and vocational colleges, first of all the organization of educational work, their enjoyment of the great rare riches of our nation, as well as ensuring the continuity of musical traditions.

Since the independence of Uzbekistan, Samarkand has hosted the International Festival of Oriental Songs, the Republican Singing Competitions dedicated to Yunus Rajabi, Mamurjon Uzokov, Komiljon Otaniyozov and Khoji Abdulaziz Abdurasulov. Uzbekistan is my homeland », International Festival of Bakhshi-akins Republican and international competitions and scientific-theoretical conferences make a huge contribution to the formation and development of Uzbek folk music and its traditional vocal and pop singing school .

The art of traditional singing is present in the musical heritage of many Oriental peoples and forms the basis of national music. They have a theoretical and practical basis, because they are an example of the masterly style of folk music. Undoubtedly, the basis of this traditional performance is the works of maqoms, especially Shashmaqom, which is the spiritual heritage of the Uzbek and Tajik peoples. They are the result of their creative research in this field over the centuries. The masterpieces that maqam musicians and singers have passed on to future generations have become a real treasure of the art of music, which is one of the most valuable musical arts in the world today.

Samples of Uzbek folk music are divided into two main groups according to their role in public life and their functions:

a) Songs performed under certain conditions and circumstances (family, seasonal, labor);

b) Any "situation" or free-themed melody - songs (song, national anthem, lapar, yalla). In this case, the content of the first group consists of sayings related to the labor process, family ceremonies, seasonal ceremonies and labor songs, while the composition of the second group includes sayings such as song, team, lapar, yalla, ashula.

Considering the ideological, thematic and genre features of Uzbek folk songs, they can be divided into two categories. The first, only in certain life genres, for example: at work ("Mayda-mayda", "Yozi", etc.), shaking the child in the cradle ("Allah"), at weddings ("Olan", "Yor-yor" etc.) are songs of different themes, terma, lapar, alla and songs on different themes. Among them, the genre of singing is characterized by its size, intensity, complexity of performance and long melody in relation to the features of the development and structure of the melody. The rest are in the form of small melodies, which differ from each other in some respects.

For example, if a song is sung without dancing and is mostly performed solo, the lapar is definitely performed with dance, often in the form of a dialogue between two people. This, in turn, is characterized by the dancing of lapar melodies and the ability to be sung by two or more people.

Unlike the lapar, the yalla is often chanted, applauded by many, and sung in unison, while the bands are performed by a solo yalla performer in a danceable tone. “As a result of these genres, i.e. national, song, yalla, lapar and hymns being widely sung in connection with certain ceremonies, each of them differs from ceremonial songs by the versatility of the theme. But in their structure and style of singing, they are almost indistinguishable from ceremonial and labor songs, songs sung in connection with a certain process in general, ”writes musicologist F. Karomatov. In ancient times, the art of singing appeared in the form of folk art, and as a result of the transition to a class society and social stratification, its professional form began to emerge.

The difference between the songs of the first group and the songs of the second group is that they have a wider meaning. Although Uzbek professional music has been sung and developed for centuries, it was not recorded until the twentieth century. Includes professional music, large-scale singing and intricate vocal compositions - maqom.

History of room performance. While studying the basics of the art of singing in Uzbekistan, we need to look at the history of world singing schools.

The style of academic singing in our country is mainly based on the experience of the Russian school of singing. The streams of Russian academic singing embody the unique melody, breadth and richness of meaning of Russian folk songs.

In keeping with its originality, the Russian School of Singing has adopted the rich traditions of Italian, French and German singing schools. Among those who contributed to its development were Gavriil Yakimovich (Ioakimovich) Lomakin (1812-1885). His works "Method of Penia-1" and "Method of Penia-2" created in 1837, "School of Penia" by Filip Yevseyev, published in 1833, instructions of Alexander Yegorovich Varlamov (1801-1848) "Full School of Penia" is in sync and closely related to the principles.

Among the great contributors to the development of the Russian school of singing were the composers of the period up to Mikhail Ivanovich Glinka (1804-1857):

But it is in the works of Mikhail Ivanovich Glinka that nationalism is vividly expressed. Glinka is the founder of the Russian school of classical singing, which was caused by the premiere of the opera "Ivan Susanin" on November 27, 1836. Russian composers, while preserving the traditions of national music, brought to it new intonations, methods and harmonies, which greatly influenced the development of singing music and set new tasks for the singers. The school of Russian singing has a missionary expression and a multifaceted style. A person with this style can sing perfectly in all languages. In this case, the use of breath, selective activity, ie the ability to use the resonator, high attention to the text, the creation of artistic reality are of great importance.

Unlike other national singing schools, the Russian school of singing embodied and developed the Italian style of belkanto. This is due to the pronunciation of vowels in Russian (similar to Italian and Ukrainian).

Academicly, people of all nationalities can sing, but there is always a change in pronunciation. "The tongue has an effect not only on the vibrational function of the vocal cords, but also on the activity of the larynx" (L. Dmitriev). It will be easier for a talented academic singer to sing in the national direction. There are singers in Uzbekistan who sing in these two directions, such as People's Artists K.Zokirov, N.Khoshimov, S.Yarashev, A.Azimov, S.Kobulova and others.

Russian professional music has played an important role in the development of the art of singing. As Glinka put it, "Music is created by the people, and composers design it." Indeed, Russian folk songs have been a source of inspiration for Russian composers. The first Russian operas were created on its basis. Church singing in Russia has made a significant contribution to the development of Russian professional singers. The full adoption of Christianity in Kievan Rus' has created a demand not only for those who serve the religion, but also for singers with musical education. In the schools of the monasteries, the singers were fully educated in music.

Ancient Russian church music was based entirely on unaccompanied singing. Accompanied by musical words is prohibited). Thus, Russian folk songs and church singing, the culture of singing, played an important role in the birth and development of professional academic singing.

The first attempts to establish musical theaters were made in the mid-16th and early 18th centuries. During Peter’s reign, a group of 7 actors led by Kunst was invited, and for the first time, arias, arias included performances began to be performed.

In 1735, an Italian opera troupe led by F. Araya was invited to Russia for permanent activity. Italian opera began to take root on Russian soil. Opera was a novelty in Russia during this period, and has been performed in Italy for half a century.

 Opera was born as a new genre under the influence of the Renaissance. The polyphonic style of the time did not allow the singer to express emotions. The word would disappear in the sound of polyphonic music and become meaningless. A group of advanced musicians have shown that music should be based on words, returning the homophone style to their creations. Based on this research, new musical intercom-shaped operas, cantatas, and solo works were created. At the time of the arrival of Italian opera in Russia, the Italian belkantos, a highly skilled singer, was experiencing a second period. It was a period of domination of the stage by the unique castrate-singers, the masters of their own kind of singing.

The tremendous development of Italian singing had an impact on the development of music and singing in other countries. The pearl of the West, the opera, was hardly accepted by the courtiers when it came to Russia. Serious opera seemed boring, singing skillfully performed was unusual. More emphasis was placed on choral music. This is not surprising, since before the advent of Italian opera, choral art was highly developed, and no other European country had so many choral works.

Composer Arayya has been working in Russia for 25 years. In the time of Elizabeth Petrovna, people were forced to go to the opera, and in the time of Catherine, going to the opera became a favorite cultural pastime. The study of music and singing was considered an important part of education.

Horn decrees were issued requiring the training of local singers and musicians, and the Glukhov School of Singing was established, where the art of religious singing was studied, as well as secular singing.

The first works of Russian composers were created in the era of opposing views. The people of the palace hindered the development of new art. Russian cultural figures have made countless contributions to the creation of the new opera. The new art was opposed to the national democratic and, in some cases, the serfdom.

This description of operas is due to the fact that their authors were people from the former Krepostnoy or lower classes. These are Ye. Fomin, M. Sokolovsky, M. Matinsky, D. Kashin and others. Russian opera singers were unique. But the influence of the Italian singing school on Russian singers was undoubtedly great. As a result, by the 1930s, Italian vocalists began to make creative trips to Russia every year, where Russian singers learned to create long melodies, calorie sounds, and other techniques based on perfect breathing.

The composers who created the national opera in Russia were the first teachers to teach singing. yevstigney Fomin is the author of the national opera "Yamshiki na podstave". Ivan Alekseyevich Rutin, who prepared M. Stepanova, I. Samoylova and O. Petrova for the opera stage, was one of the best teachers. The composer Bortnyansky had a great pedagogical activity in the singing chapel of the palace. The calm melody of his works, the absence of high notes, and the comfortable tessitura in the production of sound contributed to the development of the voice. It played an important role in the development of the art of singing.

Catherine Cavaso, a composer, conductor, and singing teacher, contributed to the formation of Russian singing pedagogy in the late 18th century. She trains not only performers, but also professional teachers. These are Kovalyova, Shelexov, Turik and others. The artistic activity of Russian singers also plays a role in laying the foundation of the Russian school of singing. Actors A.Mikhaylova, N.Semyonova, A.Krutitskaya, Ya.Vorobyova, N.Zlov, N.Lavrov and others were able to amaze the audience with their excellent skills, technical aspects and meaningful performance. teeth are possible. A. Verstovsky, the director of the Bolshoi Theater in Moscow in the second quarter of the 18th century, was mentioned in the formation of the performance style of Russian singers and the promotion of composers' programs. Verstovsky believes that tone is a key factor in the creation of the image - a simple, broad and meaningful melody. Verstovsky's operas shaped the Russian singing style, educating the singers in the national spirit.

Russian singers' performance style was also influenced by their performance of the French opera program. In the middle of the 18th century, a French troupe was invited to Russia. Romances also play an important role in the development of the art of singing. G. Teplov and F. Dubyansky wrote the first Russian romance. The greatest representative of Russian composers in the field of chamber music was O. Kozlovsky. The period of creative activity of a group of talented composers called "Delitant" dates back to the beginning of the XIX century. Titov is a representative of this group. The works of Russian romance masters A.Alyabyev, A.Varlamov, A.Gurilyov, N.Bulakov under the influence of folk songs and urban romances attracted the performers with their simplicity and closeness to the heart.

Thus, the art of singing has gone through a very difficult and much-needed stage in its 100th anniversary, from the introduction of Italian opera to the creation of the first Russian classical opera, Ivan Susanin. Russian singers have remained faithful to the national performance by studying the techniques and culture of Italian and French schools. The factors that characterize the main features of the Russian national school of singing can be clearly seen in the works of singers who created it in its heyday, in the late XIX century.

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