Home Archives Vol 7. NO (a20)

Vol 7, No 1 (2020)

Erudio Journal of Educational Innovation

Table of Contents

Original Articles

THE POTENTIAL OF THE IMPLEMENTATION OF DENGUE HEMORRHAGIC FEVER (DHF) PARTICIPATORY MAPPING TRAINING FOR LARVAE OBSERVER CADRES (JURU PEMANTAU JENTIK / JUMANTIK)

Lilik Zuhriyah, Yulia Dwi Setia

Erudio, Va17.N0 1 (2020), pp. 1-16 DOI tittpS.Wdoi.prg,'

    Abstract 'ReferencesjCurrer.t I PDF Cover Page                                                                                             Viewed ; 24times

POLICY IMPLEMENTATION OF CURRICULUM IN PLURALISTIC MULTICULTURALISM BASED PHILOSOPHY (FALSAFAH) AND RELIGION STUDY PROGRAM AT UNIVERSITAS PARAMADINA

Muhammad Nur Budiyanto; Abdul Hakim, S Sumartono, S Suryadi

Abstract References [Current I PDF I Cover Page                                                                                              Viewed : 15 times

COOPERATION OF TEACHER AND STUDENT ON MUSIC WORK

Botirova Xilola Tursunbaevna

Erudio,Vo/7.No (2020). pp. 36-47 DOI https://doi.org/

AbstractI References [Current I page                                                                                                          Viewed: 9 times

LATIN AEROBICS: AN EXERCISE WORK-OUT FOR STATIC AND DYNAMIC BALANCE OF CONGENITALLY BLIND

CHILDREN

Teresita Dinoc Ignacio

Erudio,Vo/7.No (2020). pp.48-56 DOI https://doi.org/

Abstract I References i Current PDF I CoVer page                                                                                                        Viewed ; 23 times

USING MANIPULATIVES IN ETH-COOPERATIVE LEARNING TO ENHACE MATHEMATICAL LEARNING OUTCOMES

Eyus Sudihartinih

     Erudio,                T (2020). pp. 57-63

DOI https://doÉorg/

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of Educational Innovation

COOPERATION OF TEACHER AND STUDENT ON MUSIC WORK

Botirova Xilola Tursunbaevna

Faculty ot Alt Studies, Andijan State University, Uzbekistan

*Email:

ABSTRACT

This article attempts to highlight the enormous challenges faced a teacher. The actuality of the article is that it focuses on the attention of art in the education and cases of implementation of the projects of decree. We are not exaggerating to say that this scientifically-based article aims to highlight the President's initiatives and efforts. At the same time, the focus on the attention to the teacher and his spare ways were justified

KEYWORDS

Music lessons, teacher, students, cooperation, games

INTRODUCTION

We all know that radical reforms carried out by the Uzbekistan's President Sh_ Mirztyoev can be seen in all spheres as well as in the an At present, the focus ot education and the ongoing decision in the Action Plan for 2017-2021 are indicative of the progress in projects. In addition, the first ot 5 initiatives belongs to music and painting and it is success ot artists. Dear reader, the purpose ot this article is to illustrate the difficulties ot teaching a teacher. From the outside, the teathing protession looks like an easy and simple protession but when we analyze we see its hard work. For this purpose, there have been attempts to analyze the teaching methods ot a work. Each musical instrument has its own historical processes and origins, as well as its complexity. In this article, we will nave our conclusions and insights as we examine their history and the stages ot their study.

As President St]. Mirziyoev noted: Our young people nave the ability to think independently, nave njgn intellectual and spiritual potential and we mobilize all tne efforts ot our state and society' tor our youth as nappy people in every area ot the world.

In the last decade, composers nave created many works tor piano. It should be admitted that these compositions are ot various genres and composers relied not only on folklore in the creative process, but also on the creation ot original themes dose to toklore. The works ot Uzbek composers are widely used n imitation, different (contrast) and sub-polyphonic techniques. With the use ot composerg mpnonic works, young pelormers not onty enjoy classical potypnonic traditions, tilt also peculiarities ot me Uzbek polyphony created by the influence ot national

The term music is a flaw in the practice ot using words. That is to say, tor example, the "song" and 'ThelodY' that are onen used in daily communication are inaccurate. Our thildren are not only get acquainted whtn Uzbek and toreign composers, but also study Russian music They not onry

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get to know their works but also their historical processes. %scow Russian literature and art calls tor understanding the historical tate ot tne Russian people based on patriotic ideas. In the beginning ot the fifieentn centwy in ryþscow was created a collection ot all-nistorical pieces ot art composed ot separate sections

The first steps in children's music education start with tamiliarizing yourselt with a musical instrument It is best to nave this lesson in the royal classroom as possible. It snould be interpreted to cnild that the royal does not Delong to any musical band and Royal is a musical instrument. Then you can read the poem. One ot the most important pans ot it is pertormance mechanism. The Keypad consists ot a series ot wllite and black Keys Press the Key to nit tne strings. The Keys are as vibrant as they are and they will respond to you as you deal with them.

It you press it witn your fingertips - the sound is snarp, snon, and the piano may Teel nurt It the fingers are sligntly rounded, elastic and the arms are light and flexible, the piano will begin to sing and its sound will be clear and lignt_ Just as everyone nas their own name, eacn Key nas its own name it is no need to study notes like do, re, mi. far sol, Iya, si in order, because if that happens, students will usually stan counting tne notes. It is worth noting that some notes are in pairs: two and three. Two notes on the left are do and on the left are mi. If do, mi, do and then sol are played, it sounds like a mster crows.

This is how the fairy tale about woodpecker, cuckoo and rooster begins. The reader can tell a tairy tale and ask him to scream and play v.4tn his cock all over tne keyboard and then count the number of times of the rooster screams It is also possible to play beating of the woodpecker (fata-ta), shouting ot the cuckoo. You can then use color pencils and coconuts to paint the colors and notes, using pencils and flashers to determine tne relationship between sounds and colors.

THE USE OF GAMES MUSIC LESSONS

Early lessons also need to be considered tor the development ot nearing. This can include introducing the child to registers, playing puzzles and playing a musical instrument Handwriting begins before the note is learned. The main task ot the teacher is to teach each student to adjust his or ner senses to rit the instrument individually. Special exercises tor different groups ot muscles can help. They help to overcome the frequent constraint (zajatost) of children playing piano.

Teacher incorporates game elements into the gymnastics class. This is very' important tor preschool and junior scncn age children. The thild becomes less tired when it comes to other activities. The result is a large amount ot material. The task ot the teacher is to deliver these exercises to thildren in a lively, tun way. In each case designed to tonn a piano, children can use the exercises provided by tne teacner ot the School ot Alt and WISic A Schmidt - StikolowsKts book, 'The Pianist in Music" by A Artobolevskaya, as well as his pedagogical findings. In this article, I would like to suggest some ot these exercises and their possible variants.

Initially, the child wil be given a tew exercises that will help him tee' his arms, his shoulders and his freedom. auratino Exercise helps to open tne necK shoulders and arms: A Childs hands are

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lifted. His nands are tight as ne is now a wooden man. Then me body's liberation by parts begins. First the fingers, then the torearms, then the elbows, and finally me wnole arm is down and tree.

•      Swan exercise: shoulder, chest, shoulder muscles play an important role in the pianist's work. They strengthen and balance the snoulders, not and direct the nants to the desired nejgnt Exercise helps to maintain proper posture and increases the flexibility of the hand during movement.

•      Magic Circle and Rainbow Exercise: These exercises nelp you tee' the whole body, trom body to toe. All the circular lines in tne space: rainbows, mountains - we draw tne magic circle witn various fingers as it the finger is a continuation ottne hand.

•      An Artist's Exercise: This also uses a space drawing technique. The toream perorms small circular movements, which frees itself and makes it more flexible.

•      The umbrella exercise: The right nand is placed on the left toe ottne lett hand. The right fingers are as tree as it they were draining. The nand S touched not only by the tat muscles tilt also by the shoulder nwscles. This way the handle controls the weignt ot the hand, giving it reliet and flexibility.

              The         exercise is to develop fingers.

•      Cat Exercise: this exercise increases fingerprint sensitivityn The boy who does it correctly understands wdnat the freedom of the finger is. The hand is folded in half, with a finger pad resting treely on tne table The nand is relaxed and relaxed like a sleeping cat paw Here tne cat woke up, stretched out and pulled out nis snarp nails. The tingers begin to slide torcetully across the table cover witn a sliding horizontal slip. All the nwscles ot tne arm are tense The fingers tnen return to their original position The nand is treed again.

•      GuestGame: The game consists ottwo pans. The big finger is tnenostand the other fingers are invited guests for the celebration, the first part of the exercise describes the arrival of the guests. Guests greet the host: All fingers collide with their thumbs as if kissing. The second pan ot tne exercise S the departure ot the guests. Guests bow down to the nost Each finger nwst be bent individually so that it touches the back ot tne palm ot tne hand. This exercise enhances the sensitivity ot the finger pads and promotes finger independence

•      Crocodile Exercise: Exercise in a tun way introduces the thild to the numbering ot each tinger (1 The hand rest treely on the hard suffice Each finger represents the crocodiles resting in the sun. Fingers are long and straight, and the turn is as high as possible (crocodile barks). Each finger is lifted and the rest is firmly attached to the table Exercises can be Efformed with both hands raised to parallel fingers or to improve coordination. For example, the second tinger on tne len and tne rignt, the third on the left, and the rm on the rignt, and so on. Fingerprints can be ordered by bottl tne reader and tne teacner_ These exercises can also be used as tocus exercises

The location ot the first and fifth fingers snould be given special attention

•      Goat and stick Exercise: The rrst toe is a goat's child, it is mobile, the finger is stick, it stays upright on the pillow in a vertical position. Let the reader remember how sheep, goats, and cows graze in the summer. They cannot escape because they are fastened to a tree We will try to express it witn our fingers. A stick is a snepnerd and a goat is wandering around the stick. The first toe comes trom tne fifth finger trom the nonzontal suffice. Then it reverses The tm tinger motionless.

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•      Then the roles are excnanged: The first tinger represents the stick and the rm tinger represents the goat's child. Exercise can also be done on the table cover and on the piano.

•      The next three exercises are perTormed on a musical nstrument

 Leaf fall exercise: Three sound-training exercises with one fingeL Hand movements are soft and resemble the tall leaves Exercises are slow witn one nand tißt and then the other.

•      The child should notice that all the weight ot the hand is shifted trom the shoulders to the fingers and trom the keys to the keys during the sound. During this exercise, the child should be aware of the sound quality and how it is moving in the air.

 PowerTul Rainbow Exercise: Placing a tinger on the keyboard and then placing fingers on it This exercise enhances the ability to aim freely on the keyboard and the nwscles in the distance. Rignt-nanded, up-and-down, left-to-rignt, witn eacn tinger alternating between black and white keys The arm is flexible and slow, wqtn wide circulation. As tne student perorms this exercise, the student must imagine that the rainbow drops trom the rainbow down to the deep lake.

 Hornet Exercise: Spreading movements within one octave. The volume is generated in two 2 and 4 fingers in third intervals, and tne child must imagine the image ot a shaggy heavy bee sticking to the flower (key to key). The delicate flowers bend over its weight. The mediant sounds protoundty, teeing the keys

Working on exercises is a means ot understanding technique trom music. The sound-forming techniques that are used in tne exercises are gradually stlitting to work. The next torm ot work before the note is learned is to work on rhythmic circuits. First we talk about short and long sounds The thild reads a poem using cnoir and then tries to create tw or three notes tor that poem The game of musical counting sticks is not just a rhythmic game, it also helps children to develop fingering stably and develop coordination wnen botn hands work togetneL

Choosing fingers helps to perTonn various artistic tasks and to overcome various piano challenges. Theretore, a creative approacn is needed to work on the fingering. 1 fingers are strong and 3,4,5 fingers are considered weak. Students need to develop a conscious attitude towards tne keyboard. Eacn penonner must select tne fingers based on their artistic expression tasks. It is necessary to strive for the natural consistency of the fingers (near the notes, the fingers). The sequences ot the same structure should naturally be played witn the same tingers_ The hands snould be in a natural, stacked (dome-shaped) position, even when perormed extensively_

When choosing fingering, it is important to choose fingers according to their natural ability. (Chopin also mentioned this) One finger is the mst energetic, 2 S tne strongest and strongest and 3 - 4 fingers are independent and are the least mobie. Five fingers are used to produce a delicate sound.

To achieve the legato, it is necessary to use rotation, sWping, and sliding:

Lifting the long finger over the snort finger. In this case, it is important to notice the softness ot the torearm that needs to gently move the fingers around the keys. No finger should be removed trom tne Key until the other finger presses tne next Key_

2.     Mute excnangtng ot fingers. There are several exercises tor polishing this meth0d: The first finger presses the key, the second finger prepares to press it The second finger does not release the first key until the first finger is still in place This exercise can be compared to stretctling a wand in a relay.

3.     Finding the best angle ot inclination men sliding. One volume should not be overstressed.

A student of the School of Music and Alt should study 20 to 25 plays and etudes of different nature, tolk songs, polyphonic plays, sonatas, variations

philosophers nave also expressed their views on the development ot cNdren_ The great philosopner Abu Nasr F-arabi said ot music: "The science ot music is usetul in that it brings up those who have lost their character, nurtures those who nffire, and maintains the balance of those who are in balance. This science is also beneficial tor the nealtn ot the body, because tne body suffers Men tne body becomes ill. That my it is necessary' to heal the soul in order to neal tne body, and the sound effects ottne spiritual torces are in narmony witn tne essence and balance. " These words ot our great ancestor are extremety valuable today. Because the song connects us to the past and gives us a glimpse into the future So lets put our future children closer to music and music, and let their near-ts embrace their little goodness witn me nwody.

The teacher should be guided by the selection ot any artitact, mainly because ot the pcnr penormance ot tne student. E-acn classroom's repeno•re contains special Plays that require the development of various technical skills, such as the development of briskness features. All these works, apart trom their specific tasks, nave one common purpose - the musical and artistic development ot me student

working on artistic images begins wth tne first step towards musc and musical instrument. The teacher must explain to the reader that the notion that a child is more likely to enjoy a well-written passage for the first time, and that a passage sounds different from a pedal, is not true

One ottne tactors that makes a student successtul is nomework_ During the first months ot study, the child may nave small tasks to do independently ot tne teacher. Gradually, as tne child grows, they must become more complex. For example, a child can be assigned a pedal or an applet on his or her own work, and an independent study of a small playn

Homework on the instrument should inclucM in the childC daily schedule Every day one snould practice in tne same nours. It you do chores regularly and not routinely, that is, halt an hour today and four hours tomorrow, you can't expect good results. In the early stages, students may remind the child that it is time to practice (tne thild should not torget about it later). When the child is playing tne piano, it is important to keep quiet and not to be distracted. Parents need to remember mt music requires great attention. It is also true that unen talking witn parents, tne educator stresses that it is necessary to create a proper agenda tor homework.

While me student sometimes loses nis or ner time on the instrument, ne is still unable to perlorm artistic or technical tasks. This is most onen due to selt-control, unintentional approach to work, and lack ot proper tocus_ GG Neygauz wrote in his book "Iskusstve tonepiannoy gre" that his

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student should spend at least 6 nours every day at the piano, spend about 4 hours w•king on technique and repertoire, and hours tor dating. He said ne could not give up his mind.

From me very beginning, me learner must be able to perceive and understand the rnytnm ot the music presented to mm. Then the teacher snould explain the rnytnm ot tne notes, tne pauses, mat tne points are next to them, and tne mytnmic teelings expressed in the literacy ot the teacher as an interesting song and melody. There are innumerable ways to explain tne mytnm. The rrst and most common is tnat tne whole note is represented by an apple, and then divided into halt quarters, and so on.

The second is the Zoo Tour. The animals decided to go for a walk. Heres the elephant. When he takes a step, tne bear takes tv.o steps The mouse nas 16 steps to catch them.

From the very beginning ot explaining the volume ot sounds, it is also important to talk about pauses First and foremost, children need to know tnat the pause is silence, that is, a break, not a movement a break. It is the breath ot a musical speech. In addition to teaching the rtMnm ot the teacher, the child needs to be taught about tallP0, measurements, tactics, and punctures. The use ot illustrations that are understandable to the child also applies nere_ Nothing can torce a child to work as caretully and diligently as the responsibility ot perlorming in tront ot an audience.

The young musician must share what he has learned from the first step. Student behavior, that is, providing a classroom program to the audience, is directly related to the educational process betore the concert Although tne student nas mastered tne work well and performed it well in me classroom, there are times wnen the story loses its tocus and tails.

The method ot comparing and contrasting musical images plays an important role in developing children's musical perceptions Reasonable use ot this method Ml improve children's listening skills. Understanding tne contrast trom tne contrasts will then nep them to tee me subtle similarities in the works ot the same

The teacher should be aware of this and should take all possible steps to achieve a successful mass exit. They need to make multiple repetitions, such as inviting parents or letting the child play in tront ot their comrades to find out how much memory' the book has. Deficiencies identified in this listening process are eliminated in the classroom

It is important to maintain emotional strength on the eve ot the concert and especially on the day ot tne concert Then it will be successtul in a concert or exam. It is imponant to remember that unsuccesstul pertormances on the stage can njure a child's psyche and then give up nis desire to work. These consequences cannot be quickly and easily eliminated.

Working on gamma, three-volume and different exercises prepares me student to play the passages and tri-sound in the musical. The leamer WII have the opportunity to become more familiar with the smooth transition of the torque during gamma play. In addition, gamma and threevolume sounds serve as material tor students to master technical and Mistic barcodes

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Note that gamma and tri-band play nave to do v.qtn a specific purpose. Eacn time the gamma is played, the musician should be clearly targeted. This task should be ot benefit to the overall pertormance ot the learner taking into account tne individual cnaracteristics ot the learneL

For example, it a student wants to play loudty Mlle penorming, this method can be repeated using gamma and exercises. The same path should be used to improve other pertormance techniques. Performing gameplay, triceps, and other exercises should be an integral part of the learning process It plays an important role in the development, development and improvement ot various perorming skills. Deep and comprenensive analysis ot tne penormance ot various skills is a necessary basis for improving the teaching of music. Creating the skills needed to play is one ot the most pressing problems in music education, one ot the reasons tor this is the daily demands on nwsicians to penorm complex music requires a tnorougn refinement ot simple skills Accurate playback and adaptation ot your play moves will make it easier to stay tuned. wnen you use playback in practice, it automatically becomes a skill and becomes a skill. This is done with the nelp ot climbers.

Learning and completing exercises is an important part of the learning process. At the same time, education is nwre than just perormance. Exercises are an integral pad ot the learning process Consistent witn the practical and theoretical aspects ot tne learning process, a deliberate repetition of the essays is a good result. The student should focus his attention on the meaning ot the music as he or she executes the exercise The exercise is designed to build, develop and strengthen meaningtul pertormance skills.

Systematizing the learning process is crucial in this task It is necessary to consider the internal structure ot tne skills, and the ways in wllicn they can be more complex based on previous skills Researcn snows that the systematic development ot the executive apparatus snould be based on the principle of 'from simple to complex." Work on mastering a new skill can be completed only after a thorough mastering. Otherwise, the task assigned to tne learner can be complicated. Theretore, it is necessary to adhere to the principle ot interdependence in studying the various elements ot the technique.

The ability ot me learner to master me new skill depends on now much me master nas mastered the previous skill, as tne new learning is interdependent witn tne tormeL indicates a sweet For example, the new passage is similar to the previous one, so it is not a problem for the musician.

In the learning process, it is important tor the leamer to identiPy' and analyze sections ot the skill (or nwsic material) that are similar to or different trom tne previous ones

These traits that help the learner improve their classroom pertomance and result in less time and greater penormance. The etyud is derived trom tne Frencn word etude, which means "to study." Initially, learners begin to develop play skills using lignt etudes. These are tne etudes ot Gedike, Berens, Shittel. Over the years, the repertoire will enrich Clement, Cherny, and Moshkowski etudes

Etudes develop the technical performance of the musician. Each skirt is designed to gain some technical skills and skills. For example, octave execution method, trellis technique, binary reversal method, and so on.

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The word "etyud" is also used in other ans. For example, in the art ot panting, ansts also create essays to learn something in the process On stage, the etudes, which are performed as standalone independent works, are called "concert etudes." "Piano Concerto" tor the piano was composed by Chopin, List Skryabin, Rakhmaninov.

Large-scale works play a great role in me piano composition ot Uzbek composers. Anyone wno has been familiar with the works of young composers on piano in recent years, feels like a world ot their To make the play really interesting, tne teacner or student needs to be able to the artistic aspects ot the new music. The listener must be able to perceive tne beauty and tne spirit of contemporary ari and to understand the genre of the work. The sounds of a Tokkata, sonatina or variation perormer should be complemented by tne imitation ot a palette. This experience will help the student or learner acquire new techniques for producing sound.

One ot the ¥culiarities ot nulern piano music is that me comwsers nave "discovered" different layers of folklore and have complicated ideological directions There is still a process of creating works rather than using tinisned torms, but witn a deep reflection on the internal structure ot classical and national genres. In this regard, there is a need tor composers to anatyze sucn complex fonns of art as Tokatata, sonatina and variation in order to trace such complex processes They are characteristic ot tne diversity ot the edges ot the ladder: complex quartet quintet stmctures in seconds, cnromatjc melodies, potypnomc stmctures that anse dunng tne movement ot the melody, and so on.

What might be the reason for the piands fburishing so quickly? First and foremost, this genre creates equal opportunities and promotes home-based music traditicns. In addition, tne works ot the late etgnteentn and earty 19th centunes were ntend•ed tor most amateur pertomers. These works have been used successfully pedagogical practice. Piano Performance would improve the perTormance skills ot bottl senior and junior pelormers. Anotner reason tor the popularity ot the Piano musc genre IS that it nas me ability to express orchestral ettects_

During me classics, piano art emerged and began to take shape. It was during that time that a piano instrument was created. IS See, his sons and disciples were the first examples of keyboard music. It is wonn noting that in Czecn and Austrian pre-classical times there was a prevailing excavation ot claver music. Tne Piano an ot Haydn , r,nzan and Beetnoven elevated the creativity for this instrument London and Vienna schools have formed. Clementy and Gummel's creativity tburisned_ The Paris school, in turn, appeared Kalkbrenner and Talbergg creations nave spread. Cherny•s an came into beng and nas not lost its status so tar

Romance (Frencn romantism) is an artistic stream that originated in the late 19th and early 19th centuries in German, Austrian, and English literature, and later in nwsic and other arts. The leading principle ot romance is the sharp confrontation ot everyday lite and dreams, existence anc tne ngnest, ideal world created by the artist's creative imagination.

During the romance, piano art became even more popular. Austrian and German romance was tallowed by all European ansts. The Piano works ot Schubert Weber, Menctelson and scnumann

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nave been sealed in the history ot cultures. Chopin and List are known worldwide as ¥rtormers and educators Their piano work has also become a repertoire tor the world's best musicians.

In the XIV-XV centuries polyphony reached its highest level ot development Multiple soundtracks are called "contrapunts", meaning "anti-note' Contrapuncture is a tuning system, the aft ot combining several tunes into a coherent sound.

German school ot piano became the standard tor the tomation ot national piano schools in the second halt ot the 19th century. Representatives ot the German piano scnool - grams and Reger, Frencn piano school - Bize, Frank, Saint-Sans Norwegian, Czecn piano schools - Grig, Smetana and Dvorjak were the representatives ot national piano schools. Russian piano music is a powerTul band - Rubinstein is reflected in Tchaikovsky's work. In the second halt ot the 19th century, the notion ot "piano pedagoW' emerged. Skryabin, Metner, Raknmaninov became tamous as new directions in the piano aft and penomance.

In the Fundamentals ot Musical Science, it called '¼yganology" and provides a scientific justification tor the tormation, practical application and development ot musical instruments. In the development ot this subject, a number ot scnolars trom the East and the West nave done well in the study ot Uzbek music scholars [815]_ As you can see, me penomng arts are one ot the most popular torms in almost all countries.

In the 2040s ot the 20th century', significant progress in piano perormance was possible It can be argued tnat tne 20s were a time ot active development ot new style trendy S. ProkoteVs piano creation gave rise to a unique musical language. There were numerous sonata and concerts. Prokotev is known not only as a composer but also as a pianist In the middle ot tne century, new ways ot doing things were tormed_ In France, impressionism was mainly manitested in the late Debussy evening works. This composer sought out new ways ot reviving his work, addressing new themes. In particular, ne incorporated martial arts into his music, which was evident in his work "Black and wnte." The 12 etudes are known as the Debutus' Evening Itinerary

In the second halt ot the thentietn century, there nas been progress in piano art Different streams ot musical avant-garde emerged. Sctlönberg's disciples and successors nave appeared not only in me world, but also in Uzbekistan. There nas been an increase in tne tendency to integrate music into a common (total) series. Bulez's "Structure", Mitten tor 2 piano, is an example ot this.

The interpretation ot the orchestral works ot the late 18th and early 1 gtn centuries set the musical and educational tunction ot the piano. Soon, opera, sympnonic, chamber-ensemble works began to be published, along witn their own interpretation ot the penomance, and it became a tradition. Thus, in the nineteenth century, listeners began to get acquainted witn different genres Numerous great works gained popularity because ot their pertormative interpretations.

The Latin wiatio word means change. Variation in music is defined as a torm witn a known law It is understood that the theme nas repeatedly changed its original appearance, but at the same time repeating itselt. In some cases it possible to observe a change in the vocal cord, but in most cases, the melody cnanges its rnytnm, pace, and rotation. The torm ot variation appeared in the 16th century. It was only in the 19th century that the torm ot variation became widespread.

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To date, there nave t*en several variations ot the wiation torm. In serious variations, me subject does not cnange mucn: the ride can be complicated, and tne sound is accompanied by new sounds However, the original character is preserved tnrougnout tne play.

TEACHER'S HELP IN STUDENT'S LEARNING

Understanding the character, tone, artistic direction, culmination, and general structure ot the work will nelp in a tuller understanding. The teachers nelp is needed to identÿ these. Once tne artwork is completed, tne execution will be completed. Musical compositions may not nave tne same technical complexity trom start to finisn, but some pans may be more complex than others In sucn cases, these difficult areas are highlighted and recommencM tor specific exercises. But this process should not last too long. Even tnougn the performer ot this difficult pan is pertectly flawless - it can onen be distinguisned trom the beginning to tne end, rather than being combined witn the overall direction ot tne work. For this reason, it is recommended that you repeat several ot the difficult pans, witn several lines toward and tne next. During tne course ot the study, it is necessary to choose the pace that is appropriate tor the perormer and to ensure that tne pertormance is well organized. Being able to work properly on a piece ot nwsic is one ot tne Key tactors in improving your pertormance.

In the classroom ot musical instruments, some mastering ot music is not enougn until the concert or final control. These works can only be considered as class work. The main purpose ot tne classroom is to get acquainted witn the general content ot the nwsical work, to master tne playing skills used n it, and to use them to interpret nwsical experiences that are intended to be presented. In music pedagogy, such classroom work is a particular tocus and torms a special form of learning.

Limiting me amount ot time you spend studying music as a classroom means accelerating the process. This will accelerate the educational process itself; It is the task of the reader to master the material tor a st1CNi period ot time. All this requires tne reader to read the new manuals, not to stay in the same place, and not to duplicate tne previous manual. There are many benefits ot classroom music, such as playing notes

In both cases, the student WII have the opportunity to get acquainted wqth a variety of music in a shori period of time. At the same time, class work and note-taking are somewhat different If a student has the opportunity to become familiar with the material once in a note-taking way, he or she can fully and thoroughly master the material during class work.

A student is engaged in a classroom work, because of the repeated duplication of a piece of music, may fully discover the essence, content, structure and other qualities of the work. On this basis, the creative ideas and artistic expressions of the v,ork become clear to the reader. The repertoire chosen for the classroom work should be colorful in terms of its character, sfructure, content, and other characteristics. In addition, the role of the repertoire of v,orks and the richness of the histories expressed in them are also important. It is important that the works selected for class work should be enjoyed by the students and should be of interest to them. If the basic repertoire is mandatwy for the reader, the class work may be selected at the discretion of the

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student. Theretore, the teacher should not be against the wisnes ot the student, but snould be sympatnetc towards mm.

In the beginning, the classroom work must be conducted with the participation and supervision ot the teacner. AS the student gets more expenence and Skills, the teacners involvement is diminished, and even the introduction of the music can be done during the student's independent study. The teacher is limited to giving the student general instructions.

This is one of the highest goals of the President The future of a highly educated nation S bright At the same time, we nave tound it appropriate to cite the tollowing words ot President Sli Mirziyoev_ Thousands of scientists and scholars, great thinkers and poets and saints have been brought up in the Middle Ages, the crossroads of ancient cultures and civilizations Their invaluable legacy in the fields ot science and religious knowledge is the spiritual property ot me whole humanityn Currently, the book collections of Uzbekistan contain more than 100,000 manuscripts Untonunately, these rare books nave not yet been tully explored. But we must also openly acknowledge that we nave not done enough to educate and convey to the world community such unique heirs and wealth holders

The most important thing tor a teacner is to make sure that the classroom anc tre classroom music is organized properly by the student Mastering the classroom artwork is different from working on tne main repertoire The difficult repenoire ot the main repertoire should be repeated by the student repeateoy', and finally ne or sne Will leam to concentrate on integrating the art tom in the classical work and integrating the form of the work in the classroom. Of course, it is important to pay attention to all instructions and signs in the work. That kind ot perormance helps the reader to grow. There are so many opportunities that can nave a positive impact on tne overall development of a student in the classroom, only if he or she regularly devotes some time to perorming selected works tor class work. is possible to achieve the intended purpose

Effective use ot classroom work is essential tor expanding the teacners musical wŒldview, listening experience, and protessionalism.

CONCLUSION

In summary, the use of classroom instruction in the learning process is one of the key factors for the students overall musical develqment.

In recent years in the cities and villages of our country there is another exemplary tradition that deserves attention The holidays, celebrations and events, ot course, showcase creative works ot students ot music and an schools, and perormances ot young talents. These schools, just like art springs, sewe the spiritual needs of their parents and peers in their area, and have earned a reputation tor a snort time.

REFERENCES

Abdusamatov, H. (1968). Issues or Uzbek satire. Tashkent.

Alimunamedov, A. (1975). History' orancient literature. Tashkent

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Mahmudov, T. (1977)_ &auty and Life Tashkent

Semenov, A (1946). The Sredneaziatsky Treatise In the music ot Dawesn AIL Tashkent. Slovar, M. (1989). Aesthetics. Tashkent