MUSIC CULTURE AND ITS PLACE IN HUMAN LIFE.

MUSIC CULTURE AND ITS PLACE IN HUMAN LIFE.

Annotation: This article describes the unique role of our musical culture in the spiritual life of the people, the formation of the musical culture of the Uzbek people, new styles of Uzbek music and the role of national instruments in the development of Uzbek national music culture.

Keywords: Classical music, folklore, style, school of composition, musical culture, national instruments, academic performance, variety.

Аннотация: В статье описывается уникальная роль нашей музыкальной культуры в духовной жизни народа, формирование музыкальной культуры узбекского народа, новые стили узбекской музыки и роль национальных инструментов в развитии узбекской национальной музыкальной культуры.

Ключевые слова: классическая музыка, фольклор, стиль, школа композиции, музыкальная культура, национальные инструменты, академическое исполнение, эстрада.

Аннотатция: Ушбу мақолада мусиқий маданиятимизнинг халқ маънавий хаётидаги беқиёс ўрни, Ўзбек халқининг мусиқа маданияти шаклланиш жараёни, ўзбек мусиқасидаги янгича услублар ҳамда ўзбек миллий мусиқа маданияти ривожида миллий чолғуларнинг ўрни ҳамда эстрада тушунчасининг пайдо бўлиши ҳақида маълумот очиб берилган.

Калит сўзлар: Мумтоз мусиқа, фолклор, услуб, композиторлик мактаби, мусиқий маданият, миллий чолғулар, академик ижро, эстрада.

Formation of music culture. The musical culture of the Uzbek people has a very long history. Throughout history, folk classical music, traditional professional music, folk compositions, as well as folklore - amateur musical heritage have complemented each other in form and style of performance. This musical heritage of ours is still a part of our spiritual culture.

Thanks to independence, attention to our national and spiritual values, traditions, forgotten and historically valuable traditions, the process of their reform has become a priority.

Attention to our national values, traditions and spiritual wealth has risen to the level of the state. From the first years of independence, a lot has been done to carefully preserve and restore the spiritual riches of our ancestors, including musical culture, as well as to keep pace with the times. In this regard, the great spiritual wealth left to us by our ancestors serves as a key factor.

It is known from history that our musical culture, which is the main link of our spirituality, our traditional songs, maqom performances have always been recognized as spiritual food in the daily life of our people. The people sought salvation from music in their difficult days, and songs and music accompanied them in their happy days.

After all, it is natural to rely on our national musical culture, inherited from our ancestors, which is a part of our great spirituality, in an era of self-realization, from the day of our blessed independence, to our traditional songs. All this plays an important role in the upbringing of a harmoniously developed generation, the formation of the spiritual worldview of young people.

Our traditional music and songs have always called people to faith, kindness and humanity. Even today, without losing its relevance, it remains a key factor in the formation of the consciousness of the working people, as a tool for the education of a harmoniously developed generation.

The art of singing, music, dance, folklore performance is one of the ancient arts that emerged and developed in close connection with the life and work of the people of the national musical art. In particular, the traditional songs of our people are an immortal legacy, and today, as in all times, it is answered as "labbay". But at the same time, it is natural that not only the worship of history, but also the creation of songs in accordance with the spirit of today should be an important task for all professionals and artists engaged in music, which is a key factor in the development of our national ideology. Our country has started a completely new society, a new life and a new life. There have been changes in the hearts, minds and imaginations of our people.

As the President noted, the issue of spirituality includes many factors such as the history of the nation, moral and religious values, cultural heritage, traditions and customs, national ideology, patriotism and humanism, understanding of national identity and, ultimately, plays a key role in determining human identity.

The future of our people depends, first of all, on itself, its spiritual power and the creative power of the national consciousness. The natural pursuit of material well-being should not impede the nation's need for spiritual and intellectual growth. Spirituality and enlightenment have always been the strongest feature of our people over the centuries.

Based on these principles, it will be necessary for all directions of the spiritual fronts to define their own goals and tasks. Especially on this front, it is important to appreciate the unique place of musical culture in the spiritual life, to understand that its main criterion is to direct the power of its influence towards the ideology of independence. There are shifts in cultural life today according to this principle. It would not be a mistake to say that the minds of the creators are guided by these principles.

Musical culture is distinguished by its diversity. In particular, the rich musical heritage of the Uzbek people, whose deep roots go back to ancient times, has not fallen from our daily lives. It includes high samples of folk art, folklore performance, melody structure, content-rich instruments and songs, performance of epics and so-called maqom music of a complex series of performances. In addition, the works of folk composers, who have made significant contributions to the folk music culture at all times, also play an important role.

At the end of the XIX century began a period of change in Uzbek musical culture. This, of course, is due to the Russian occupation of Turkestan. It is important to look at this from a two-pronged perspective. Because in some cases, if we observe the negative impact of national music on our culture, on the other hand, it is necessary to recognize that it was a period of development. Because the introduction of music has had a significant impact on the scientific study of our national music, the development of folklore and ethnography in our country.

In this regard, V.A. It is necessary to mention the cocktails of musicologists and ethnographers such as Uspensky, EE Romanovskaya, NN Mironov. Ilyas Akbarov, Mutal Burhanov, Yunus Rajabi, Tolibjon Sodiqov, Mukhtor Ashrafi learned from them. In addition, the introduction of piano, opera and ballet, symphonic performance, world classical music, which are considered the masterpieces of world music culture, has made a significant contribution to the multifaceted development of our musical culture. As a result, more than 20 volumes of books containing Uzbek folk music, songs and maqoms have appeared around the world.

For the last 130 years, our musical culture has gone through a historical period full of complex, sharp contradictions, positive and negative views. Despite these circumstances, it should be noted that in the past, in the field of science, art, including music culture, a lot of work has been done. Examples include music creation, performance, music science, and analysis. The negative consequences of these past periods include over-politicization of our lives, disregard for our national values, their suppression, indifference to popular tendencies, artificial barriers to the development of ancient international cultural relations.

The emergence of the concept of variety. In order to study the history of pop music, we reconstruct in our imagination the historical moments that gave rise to this concept, and seek and study its first appearances in the performances of its time.

We begin our journey with myths and legends that express the imagination and thinking of the ancient Greeks. Their myths are rooted in the religious spirit, emphasizing the idea that the universe was originally composed of Chaos. Chaos is still used today in the sense of a mixed form of everything. Out of chaos came the Earth-Geya and the underworld-Tartarus. From Gaia came his son Uranus, the god of heaven. From Uranus and Geya was born titanium - the great god Kronos.

From Kronos-descended such small gods as Aid, Poseidon, Gestia, Demetra, Gera and Zeus.

The small gods, led by Zeus, the Titans, overthrew the rule of the big gods and began to rule the world on their own. Thus, Zeus was the chief god, the goddess of heaven, and the patron saint of marriage, Gera, who was his wife.

The Greeks considered the gods to be the cause of miracles and changes in nature, and divided their duties as follows:

1. Poseidon is the god of the sea

2. Demetra is the god of fertility and grain

3. Gestia is the goddess of the house

4. Aid is the god of the underworld

5. Athens is the god of wisdom and war

6. Apollo is the god of light and art

7. Artemis - the goddess of the moon and the hunt

8. Hephaestus is the god of blacksmithing

9. Aphrodite is the goddess of beauty and love

10. Dionysus is a goddess of wine and wine in the form of a beautiful young man.

The Greeks begin to link the relationship between gods and humans in their myths. As a result, Prometheus is punished for bringing fire from heaven to the people. The demigod - the hero The Greeks show heroism 12 times. It is revered separately because it originated from the marriage of gods and humans. Hercules is an image of a hero fighting evil, covered in lion skin and holding a stick in his hand.

The festivals, which played an important role in world culture, were the main events dedicated to the gods of the ancient Greeks. They even invited guests from neighboring cities to celebrate these holidays. As a result, the festivities were the basis for folk dances, competitions for physically fit boys, demonstrations of girls' costumes, and competitions for choirs, singers, and dancers.

Theater, actor, tragedy, comedy, mime, choir, orchestra, drama, stage, variety, stadium, these are the terms of the art of performance created by the ancient Greeks, which have not lost their essence. Let's take a look at their history.

Reminiscent of the shape of a horse’s bridle, the ancient Greek theaters were able to accommodate 20,000 to 25,000 spectators. They called the place, which was flat in the middle and surrounded by a hill, a stadium, that is, a place for competitions. While one side of the hill city, which is surrounded on three sides by earth, consists of a plain, the place is furnished - called a theater. So the Greeks called the place where the audience sat the theater. The nearest part of the plain to the spectator, the front part, is called the orchestra, the place where the choir is located. Even today, in musical theaters, there is an orchestra and a choir between the audience and the stage.

Coryphaeus, who interacts with and directs the choir, was placed on a specially equipped - wooden bed at the back of the orchestra to ensure a better view of the audience. Because the prestige of the choir was so high that it was impossible to walk in front of it.

Later, the first actor appeared on the bed to communicate with the luminary and the choir. The appearance of the first actor on the stage with Coryphaeus required the expansion of the wooden equipment, which the Greeks called "variety", ie the stage, literally - "a special place of ascent." This means that it is a specially equipped place for pop actors, and the term stage still retains its essence. The ancient Greeks called the skene a special tent behind the stage. There, the actors dressed and kept the stage equipment.

Later, the stage - the backstage was blocked by a special wall, and the "skene" - the tent was invisible to the audience. There were three doors left on this wall, through which the actors entered and left the stage. For the first time, sacrifices dedicated to Dionysus were hung on this wall. Thus, the wall gradually changed in accordance with the theme, and the first decoration - began to serve as a stage decoration.

While the concept of theater today refers to us as a holistic spectacle, in the Greeks the place where the audience sits is the theater; choir location - theater; choir location - orchestra; a place where actors move, the stage is pop; where the equipment is stored - consisting of the concept of skena.

A new style in music. Modern Uzbek music is rich and wide-ranging, rich in style and colorful, developed and dynamic process. Indeed, our musical culture, with its very ancient, unique and unique traditions, is becoming more and more enriched with new directions, forms, genres and styles. This means that along with our glorious heritage that has come down to us over the centuries, the beautiful musical traditions of several generations of artists have become our cultural and spiritual property. While any art form is able to reflect the realities of life through various means, it is clear how complex and changing social conditions the development of Uzbek music has taken place over the past hundred years. In particular, the gradual introduction of the means of expression typical of composition in the 1920s testified to the establishment of a new system of musical creativity in our musical culture.

Naturally, "non-traditional" compositional creativity will soon be added to our national values, inextricably linked with the interconnected layers of Uzbek folk art, traditional composition and amateurism. It should be noted that in accordance with the universal cultural development, this aspect has been formed and effectively developed in our country in a very short historical period.

Our advanced composers have achieved great success not only in Central Asia, but also in the Eastern region, not only to effectively use the experience of Western and Eastern European countries, but also to master the rules of unique creativity, to master it with the rich potential of Uzbek folk music.

Given its development in the creation of a unique modern work in a new musical style, taking into account the development of world music, Uzbekistan has been able to confidently enter the international process, which is characterized by 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 Composing" has sought to take its rightful place in world music culture.

The level of tendency to such creativity, which emerged mainly in the second half of the twentieth century, is characterized by the fact that in our country there is an organic commonality of the traditions of two categories of musical thinking, which were previously separate. For this reason, the artistically harmonious, classical works of various 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 direction of our musical culture, took the lead in the 70s and 80s. In this regard, Uzbek poems, suites, overtures, fantasies, instrumental concerts and symphonies, which have been successfully performed at prestigious cultural events, concerts, competitions and festivals in our country, Kush and other foreign countries, have repeatedly attracted the attention of the international music community. did

Today, the art of 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 the republic is not only a series of experiments in writing and research in various musical genres, but also a productive tradition with a unique tradition, a treasure trove of classical samples. It consists of unique and unique works created in different years on the basis of folk melodies. After all, the qualities of music composed in any style, such as nationalism, artistic perfection, originality, content, impact, are always valuable.

The longevity of the works created on the basis of ancient national traditions with high professionalism, deep knowledge and delicate taste can be clearly seen only in the example of Uzbek symphonic music.

In particular, the passionate poem "Tanovar" by Alexei Kozlovsky, created in the second half of the 30s, adapted to the voice and symphony orchestra, the suite "Lola", the festive overture "Fergana holiday" by Reynolds Glier still entertain 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 Mushel, Sulaymon Yudakov, Doni Zokirov's "Lyric Poem", Boris Nade To the children ”suite, 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 poem“ Poet's love ”and 19 great symphonies by Mirkhalil The achievements of 3 symphonies, Nurilla Zokirov, Mustafo Bafoev, Rustam Abdullaev, Habibullo Rakhimov, Bakhrullo Lutfullayev and other composers have made a worthy contribution to the development of our musical culture.

The development of the art of music in our land dates back to three thousand years. During these difficult periods of the past, our musical culture has many times gone through its long period of development and has served for goodness and progress as the basis of the spiritual wealth of our people. 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 such a magnificent system as "Twelve maqoms", on the basis of which the Bukhara and Khorezm makom series, Fergana-Tashkent maqoms, traditional performance and trumpet ways, folk composition, musical epic art are the sources of our musical culture. is coming.

The role of national instruments in the development of music culture. It is difficult to find that most of the categories of our national instruments, as well as the uniqueness of the traditions of solo and journalistic performance, are equal to our national musical art around the world. 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, Zaynulobiddin Husseini, Kavkabi Bukhari, Darvish Ali Changi and others are of unique worldview and ideological significance. He is also widely known as the author of classical music.

Thanks to our musical culture, which has reached us through such popular and masterly layers, in a very short period of time in Uzbekistan, a new, multi-voiced national composition has been formed, gained its image and developed rapidly. In this, our folk music, especially the traditions of maqom, not only provided vitality, but also served as a fertile ground.

It is known that the art of glorious status is the most valuable and honorable treasure of our national spiritual property. Its original specimens have been enjoyed for generations. Even when it was officially banned for large-scale propaganda, the status and practical significance of the status quo remained. The high consciousness, taste, spiritual needs and requirements of our people have been nourished by the creativity of the composer, masterful memorization 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 at an educated, literate, spiritually mature level. In particular, it is precisely during the period of independence that we are able to observe the revival of the new creative potential that emerged in the performance of the old maqom and traditional creativity.

As for religious and philosophical songs, they are, first of all, our historical wealth. Although it may seem unnatural to some, not to be an obstacle in this direction is in fact a practical manifestation of the true democratic principles of freedom, liberty, high culture. Because the divine, mystical themes written in the classical oriental sharia have found and appreciated their ohanrabo, impressive expression in our past music. Such songs have their own listeners, mainly among the elderly, fans. This will definitely need to be taken into account.

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 instruments, singing in the academic style. It is gratifying that most of them are participating in prestigious international competitions in the country and abroad and winning prizes.

In short, the role of our musical culture in the spiritual life of the people is incomparable. 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 period 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.

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