CC BY
0COGNITIVE AND EXECUTIVE-TECHNICAL CHARACTERISTICS OF TRAINING ON SPECIAL PIANO CLASSES OF SPECIALIZED SCHOOLS OF ART AND
CULTURE
Vakhidova G.Sh.
Accompanist of the department of performing folk instruments, State Conservatory of
Uzbekistan https://doi.org/10.5281/zenodo.13293051
Abstract. It is important to suggest that playing the piano takes a leading place in the art of music, and this is due to the high performing and technical capabilities of this instrument. Currently in the implementation of piano education, a large number of works, technical etudes and developmental exercises of various levels of complexity are used, allowing for finger movements and virtuoso performance, with the help of which students develop high performing skills, there's a possibility for that due to the introduction of innovative technologies into the music industry has had a strong positive impact on all its areas, including performance technology. This situation has created the need to improve and adapt teaching methods in the pedagogy of training performers. Motivation is important in performance. In the educational process, it is important to form students' motivation for performing activities in order to master their performing and technical capabilities. This, in turn, leads to the effective use of electronic instruments, a special computer program for a sheet music editor, and other electronic and multimedia tools in piano lessons.
Keywords: piano education, performing and technical capabilities, finger movements, virtuoso performance, performing skills, motivation.
Introduction. It is known to everyone that with the achievement of social progress in our country, the need and interest in works of art has increased. In this process, the quality of training of young performers can be improved by improving piano teaching and ultimately further expanding the management of the musical arts. The training of young pianists is associated with high-quality performing and technical capabilities, that is, hand movements, optimal coordination of movements of both hands, their systematic implementation during training sessions is advisable. This is achieved by performing scales, etudes, and various developmental exercises and is of great importance in improving piano playing skills.
Methods. In the process of research, theoretical (pedagogical analysis of scientific literature, analysis and synthesis, generalization and systematization, equalization, comparison, study of relevant legal documents) methods and; empirical (interview, pedagogical and psychological observation, observation of practical implementation, a comprehensive questionnaire consisting of a block of five questions developed within the framework of the dissertation topic, an author's test to improve the methodology of teaching piano based on a systematic approach, the study used the experience of teaching and its generalization, pedagogical experiment, etc.) research methods were used.
Results. The organization of piano teaching in secondary specialized music education manifests itself as a complex pedagogical process that has a number of requirements. First of all,
it is organized by qualified teachers with high performing skills and theoretical knowledge. While organizing experimental work, we tried to take into account the characteristics of regional and student programs.
The textbook "Selected works of Uzbek composers for piano", developed as part of the research, is used in the educational process of piano education in specialized schools of art and culture of our republic. The following pedagogical conditions for implementing the methodology in this study are: reliance on musical and auditory imagination in performance (reading notes), deep perception of artistic phenomena during performance, systematic acquisition of musical knowledge by students, introduction of training using innovative pedagogical technologies, increasing the independent creative activity of students at every stage of the lesson.
Definitely, in order to diagnose the level of development of knowledge, skills and performance skills of respondents participating in the experiment, criteria for motivation, cognition and evaluative attitude were developed.
The amount of knowledge and skills developed by respondents in playing the piano is expressed in an adequate understanding and perception of the artistic, technical, cultural, aesthetic and cognitive features of a musical work written for the piano while playing or listening. They manifested themselves in the activation of musical imagination, musical thinking, positive attitude, artistic and aesthetic perception, need, motivation, stable attitude towards performing activity, formed on the basis of adequate perception of tonal features, form, genre and texture, dynamics, rhythm and tempo of the work.
Discussion. The possibilities of playing a piano instrument are extremely wide, in this regard, the famous teacher and pianist G.R. Neuhaus called the piano "the most intelligent" of all musical instruments, since it can be used to perform any piece of music - from pure piano pieces to folk ones, melodies, huge symphonic and described, that one can even play operatic works [1; p.10]. I.A. Khotenseva said that "performing activity cannot be passive, since it requires students not only to interact, but also to work with acquired knowledge and actions, while elements of activity and creative initiative are clearly manifested" [2; 13-b].
It should be mentioned that "Progressive musicians in Europe and Russia, looking for optimal methods for developing pianist performance techniques, developed principles of finger movement based on natural performing movements and related to the structural features of the human hand. At the end of the 19th century, a huge database of etudes and exercises was created, which is still important in teaching piano playing today" [3].
As R. N. Granovskaya noted, the piano's rich "cognitive resources," a large range of registers with various polyphonic capabilities, a wide range of performing techniques rich in expressive and textural capabilities, and a rich timbre make it possible to recreate music in it. The literature created about the piano is incomparable in its quantity, its beauty is indescribable, and the musical works created for it demonstrate various stylistic phenomena, familiarity with them increases the intellectual activity of students [4; p. 76].
For developing and performing skills and abilities at the required level, the path opens from intonation to phrase, their mutual harmony, the formation of harmonic integrity and, finally, full coverage of the form of the work. The main similarity with the syntax of speech often arises when practicing the necessary phrases and their combinations. Pianistic modeling of a sentence: determination of the "internal energy" that determines the configuration of the phrase, i.e. beginning, rise, climax, decline; determine the culminating moments and their relationship,
determine the means of expression based on them - rhythm, dynamics, plasticity, the emotional and semantic role of caesuras. Understanding the nature of the relationships between phrases helps to clarify the principles of combining them into a melodic whole and pianistic methods of organizing a single movement [5; p.72].
Additionally, researcher V.N. Galushko developed pedagogical recommendations aimed at optimizing the professional and technical "apparatus" of a music student [6; p.7]. These possibilities are associated with resolving the issue of psychophysiological aspects of performance, but the researcher did not express an opinion on the formation of systemic motivation and internal structure that ensures the artistry and logic of the performing process.
Certainly, in piano performance, the concept of technique is used "in a broad sense" and "in a narrow sense" (G. G. Neuhaus). In a broad sense, technique is the mastery of sound, rhythm, pedaling, phrasing, breathing, etc., serving as a tool for solving artistic problems and including a set of performing skills, while technique in a narrow sense is the physical component of performing skills - "speed" and finger fluency [7; p.24]. G. G. Neugauz highly valued the performing skills of S. Richter, and when Svyatoslav Richter first played any work from the score - be it a piano work, an opera, a symphony, he immediately performed it almost perfectly, both in the sense of revealing its content and in the sense of technical mastery it was emphasized that he had achieved [8; p.16].
Besides that, the technique is expressed not only in the movement of the fingers and paws, but also in its strength and endurance. According to Martinsen, high-level technology is concentrated in human intellectual processes, which is the art of large-scale planning, striking in the scale of musical techniques [9; p. 92]. "Whispering" and "hiding" when playing the piano is considered incorrect. As the famous pianist N. Perelman said, "the piano being played should be heard in the hundredth row of the hall" [10; 11 -b].
Of particular scientific and practical interest in our work is the book by teacher-methodologist A.A. Schmidt-Shklovskaya "On the study of piano skill". In the work, the author analyzed the organization and improvement of the piano apparatus on the basis of a full understanding of the nature and functionality of the sound of the instrument, and in the work he devoted a lot of space to motor exercises and gymnastics for further development of piano performance skills [11; p.4]. Studying and mastering any piece of music, of course, begins with becoming familiar with the notes of this piece. Reading music is an important condition for the development of a musical worldview, as it provides an opportunity to get acquainted with folk music, works of classical and modern composers.
Conclusions. By summarizing it should be concluded that while performing exercises that develop piano playing technique, grouping the performance process can lead to positive results. For example, all notes going up are included in one performance group, and all notes going down are included in another performance group and are played according to the requirements of those groups. The main thing is that in each direction up and down, the applications, the position of the fingers are organized in a unique way and provide a relatively high level of performance. This grouping can be effectively performed in batches consisting of small extended notes.
The amount of knowledge and skills developed by respondents in playing the piano is expressed in an adequate understanding and perception of the artistic, technical, cultural, aesthetic and cognitive features of a musical work written for the piano while playing or listening. They manifest themselves in the activation of musical imagination, musical thinking, positive attitude, artistic and aesthetic perception, need, motivation, stable attitude towards performing activity,
formed on the basis of adequate perception of tonal features, form, genre and texture, dynamics, rhythm and tempo of the work.
In the modern era of globalization and information technology, piano performance is on the rise, and the search for further development of performance techniques, the search and creation of various ways to achieve performance excellence, continues regularly. This emphasizes that improving the methods of teaching piano playing based on a systematic approach in music education is on the agenda as a pressing issue.
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