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6A LOOK AT THE HISTORY OF UZBEK NATIONAL MUSICAL INSTRUMENTS. RECOMMENDATIONS FROM TEACHERS TO STUDENTS OF INSTRUMENT PERFORMANCE
Zakir Djurakulovich Khomidov Zakirj onkhamidov03 @gmail .com Sherali Narzullayevich Yulyaxshiyev Sheraliyulyaxshiyev1976@gmail.com Gulistan State University
Abstract: In this article, the Uzbek cultural heritage is rich in musical instruments, and each of them has a long history, structural development and technical improvement, and it is of particular importance, and according to performance criteria, Uzbek folk instruments are divided into two groups. All traditional folk instruments are included in the first group.
Keywords: Uzbek national musical instruments, musicology, cultural heritage, traditions, teacher-student.
The reforms carried out by the government of our country, in particular, decisions and orders aimed at further improving the musical education system, raising the spiritual world and cultural level of the young generation growing up in our country is a necessary condition for our youth to widely enjoy the high examples of national and world music culture. - creation of conditions and further development of musical education based on this, the tasks to be carried out on the improvement of personnel training system in this regard are indicated. The good work done in the field of music instills in children a love for music and art, and forms their knowledge, skills and abilities, such as musical performance, as well as the development of the personality of the student based on the art of music. It implements spiritual and moral culture, education of national pride and patriotism, develops creative skills, sophistication and artistic taste, expands the level of thinking and has a strong influence on the development of our modern generation in the spirit of high spirituality. In this respect, the performance of the world's classical music heritage on folk instruments expands the knowledge, thinking, and outlook of the Uzbek musician. It affects the wide range and high level of his performance skills. It is well-known that as the musical culture of Xalq grows, the musical instruments gradually become richer: due to the construction of some words, they have been preserved for centuries and have survived to us. Some of them have reached the "primitive" form, while others are of the high period improved according to requirements. This art of performance on national musical instruments has developed over the centuries,
passed orally from one performer to another, and has reached us . also developed and passed from teacher to student and influenced the establishment of classical forms of national musical instruments. National instrument tools, especially in the 20s and 30s of the XX century improved fast. This phenomenon occurred in Uzbekistan in two directions. One direction was implemented by masters of folk instruments. "The designer's thinking is aimed at improving and enhancing the sound qualities of the instrument, while keeping some typical structural features such as the soundbar, as well as the position of the strings, fret joints, etc., completely intact."1
This is how the folk masters have perfected the national musical instruments to play the tunes of the oral tradition. Second direction - national instrument instruments "chromatic" temperature is the idea of improvement. This is the direction written in tradition the tunes execution reaches for people instrument tools scientific basically improvement according to scientific research experience in his laboratory done increased. Experience laboratory there is has been in years this on the ground national 14 of the words more type improved and they are basically whole groups organize from 50 more new words it was created that their many of them kindred spirit words is. Experience laboratory drawings according to in the factory prepared refined instrument from tools in our republic, from him professional music outside in colleges, special study in their countries, artistic lust in teams in practice was used.
The Uzbek cultural heritage is rich in musical instruments, and each of them has a long history, structural development, and technical improvement. According to performance criteria, Uzbek folk instruments are divided into two groups. The first group includes all traditional folk instruments. The second group includes improved, i.e. reconstructed (reconstructed) instruments in connection with the cultural development of the 20th century. Musical instruments included in the composition of traditional folk instruments include tanbur, dutor, sato, rubob, oud, flute, trumpet, koshnay, trumpet, gijjak, chang, ganon, doyra, drum. Words used in folk art include changkobiz, sibizgi, safoil. Reworked instruments include samples of rubob, gizjak, dutor, and chang terms reworked according to the criteria of soprano, alto, tenor, and bass voices of music. The performance of traditional musical instruments has been formed in the practice of folk performance since ancient times, and it has been a tradition to use them in various forms and compositions. First of all, each of the traditional instruments has a high professional level of individuality. In the practice of folk performance, appropriate performance opportunities, conditions and performance methods have arisen. Centuries-old performance practice required the instruments to be performed in groups. According to this, the musicians have been using the instruments in practice, forming group compositions within the limits of their types and sound capabilities.
1 History of Uzbek national instrumental music. Anvar Leviev Tashkent 2015
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Information about the definition of musical instruments, their structural aspects, names, and performers begins to be covered mainly in literary works and musical treatises since the Middle Ages. So, by the Middle Ages, folk musical instruments, which have been formed and perfected since ancient times, found their place in performance practice. At the same time, he won the attention of not only the people, but also scientists. This process is described by O.Matyogubov in the book "Maqamot" as follows: "At the root of such superficial interest in musical instruments lies the scientific understanding that musical instruments are an objective reflection of performance activities. According to Farobi, the formation of musical instruments occurs first of all in practice. Their timbral-acoustic characteristics, the pitch and sound lines, are formed and improved during the direct performance.
The information on the study of folk instruments is reflected in the scientific researches of the above-mentioned scientists. Also "Uzbek musical instruments" by V.Belyaev, "History of musical culture" by R.Gruber, "On the issue of status" by I.Rajabov, "Uzbek musical instruments" by A.Karamatov, "Music of Uzbek instruments" by T.Vizgo Musical instruments of Central Asia", A.Petrosyans' "Instrumental studies" A.Odilov's "History of performance on Uzbek folk instruments" textbook A.Lutfullaev and T.Solomonova "Uzbek folk "musical instruments" instructional manual "Catalog of the Museum of Musical Instruments" by A.Tashmatova, "History of performing arts of Uzbek folk instruments" instructional manual by A.Lutfullaev, S.Saidi's study guide "Percussion instruments in the culture of Central Asia" is dedicated to the study of folk instruments. The above manuals and textbooks are useful today in studying the field of musical performance.
Musical performance is rapidly developing. It is no secret that the performance of folk instruments is rising to new levels. Even in the remotest regions of our republic, modern music and art schools that meet all requirements and can meet world standards have been built, and their material and technical base has been reconstructed anew.
This will definitely have a positive effect on the education system. It's no secret that in recent years, the number of students who have connected their lives with music is increasing day by day. These young people are receiving education from qualified pedagogues. Our government by created such conditions day by day his own the fruit giving is coming to this in our win and international in the category being conducted let's see of contests results testimony gives Of course, doubt no, it's like that under conditions sprout growing up youth, our country name their own arts with whole to the world famous to do able specialists being they are enough.
Todays to the day come Uzbek people instruments the world knows. Own from himself to this how has been achieved said question appear it happens achievements
own from himself appear that it was no To these achievements of Uzbekistan selfless composers and of musicians a lot yearly their work research as a result has been achieved let's say error it won't be. This has been achieved achievements protect avayash, him more improvement we young people holy it is our duty. Because he is Uzbek people of instruments magical the tones whole to the world broadcast our is our duty.
Current in the day there is musical education system: children music and art schools, Republic specialized music schools, and higher education institutions performers-composers, perfect knowledge to get for main the ground is considered Instrument performance art regularly respectively developed and polished going creative process is this of the system all stages young musician theoretical and practical knowledge enough level in itself form take and knowledge skills complete strengthening opportunities have will be That's it to say must be a student higher to education has been in institutions occupied skills his in the future will receive knowledge for foundation to be service to do need In this in music elementary to concepts have to be it is necessary Initial in classes to the student instrument about common information from given then, on the instrument execution position (postanovka), arrange from physiology come came out without right formation to the road is placed . The student's body, hands, fingers length (and etc.) get of the teacher in charge of his own on time attention not to give in in the future serious to defects take to come reason to be can Uzbekistan state in the conservatory rubob prima class according to lesson transition in the process observations that's it showed that the student from the first days of study starting from his own knowledge and skills demonstration does since, his execution in the situation some disadvantages obvious to the eye thrown away Performance reach during the musician's left hand fingers free movement to do for left hand first of the situation right to be provide need "An instrument performance" class national musical our values deep study, national people tunes separately high with artistic taste execution reach qualifications to improve separately attention is given Pedagogical in terms of take looking after musical instrument performance to the individual directed education as manifestation will be This is education own to the point according to education of the process complete development in the eye holds And this education It is certainly known when it is being designed one education of the student identity not, first of all, in the future specialty activity with depends reading from the goals come came out without approach mean holds.
References
1. H.Nurmatov "Uzbek folk music" teacher T.1998
2. O. Fayziev and U. Mirzaev « Rubob taronalari » T.1999
3. B. Rakhimjonov - Dutorchilar ensemble T. 2002.
4. R. Hamrokulov - Rubab taronas collection . Samarkand.- 2003
5. H. Nurmatov frown boss taronalari . TG'. Ghulam publishing house 1989.
