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UDC (УДК) 378.1 IRSTI (МРНТИ) 14.09.91
INCREASING THE STUDENTS' PROFESSIONAL ACTIVITY THROUGH THE STYLE FEATURES OF MODERN FOLK MUSIC ENSEMBLES
Lora Narikbayeva, Zhanzira Karibayeva Abay Kazakh National Pedagogical University lora_mn05@mail.ru
This article deals with the problem of students' knowledge of Kazakh modern folk music and the development of motivation to perform in modern folk ensembles.
The analysis of educational and methodological documentation of educational programs for the training of future music teachers in higher educational institutions for the availability of educational programs, disciplines, elective courses in this direction is carried out. The article considers psychological, pedagogical and methodological instrumental approaches to the formation of musical and historical knowledge of students, increasing their interest, familiarizing them with the musical heritage of Kazakh musical folklore through participation in collective ensemble modern interpretations.
Keywords: ensemble, folklore, folk music, students, modern folklore, music, organization.
Introduction. The learning and teaching documentation of educational programs for future music teachers in higher educational institutions was analyzed for the availability of educational programs, disciplines, elective courses in this area. Topical scientific and methodological teaching aids are also published. However, in the process of pedagogical research, it is important to strengthen the role of national music in the study of the content of education and its pedagogical and educational potential of students through the musical subject
The psychological, pedagogical and methodological instrumental ways of forming students' musical-historical knowledge, increasing their interest, familiarizing with the musical heritage of Kazakh musical folklore through participation in modern interpretations of a collective music group are considered. It is important to be able to show the pedagogical conditions and ways of forming students' musical and historical knowledge by increasing their professional interest in the musical heritage of the Kazakh people.
Individuality, civil image, morality, patriotism, creativity and activity play a key role in the development of the cultural, social and spiritual life of the society where we
live in. A skilled teacher has a great responsibility to bring up the younger generation as creatives with such noble qualities
No doubt, this requires a new method of training and education, new programs, new teaching aids and technical equipment. First of all, the role of a conductor who correctly reveals the spiritual world to the younger generation directing it to the top of humanity and world culture is always different.
Modern (originated from French Moderne-modern) - the last decade of the XIX century - an artistic trend in various types of art (architecture, arts and crafts, fine arts, musical art, etc). The main idea of modern art is overcoming the eclecticism of previous development; search for harmony between art and life in the industrial era of social development.
Modern masters try to combine the traditional artistic and utilitarian functions of their work; use all spheres of human activity in the field of beauty; implement the idea of "changing life through art." The modern style feature lies in refusal from traditional rules of maintaining the natural appearance of the surrounding reality, interest in the latest technology, as well as the flourishing of applied art in all directions [1].
The history of the country is one of the main qualities to be instilled in students when mastering modern folk music. First of all, it is our national language, mentality, history, traditions and national spirituality, and the most important is folklore. Involving students in the art of music is a common challenge for all of us. It is very important to satisfy their spiritual tastes, expand their understanding of national music, and develop new programs and textbooks.
Whether at school or university, folklore lessons teach students to understand the wonders of the world of beauty, truly feel the art, enjoy it spiritually, think meaningfully about life, and do good deeds leading to noble goals. Pure beautiful sound is instilled in children from infancy. The songs of our people teach to be musically literate. It is not easy to teach the terminology of classical music and explain its meaning to students who do not know the artistic features of folk music.
Since our main goal in higher music education is to educate professional musicians, we must be able to awaken the love of students without diminishing their interest in music. The famous teacher K. Ushinsky's words "When the school sings, the whole people sings" show the importance of the school in the culture and art of the country [2].
Main part. The objectives of the ensemble class are set out in the curriculum and should ensure that students obtain the knowledge and skills necessary to play in an ensemble and work with an ensemble, as well as to learn special and additional instruments.
It is aimed at consolidating broken knowledge, mastering one of the orchestral instruments, developing creative initiative, teaching and conducting skills, fostering personal qualities. Many professional and socially conscious qualities of students are
formed in a modern folk music group (ensemble). In this regard, it is important to carry out educational and musical educational work with the ensemble.
On the one hand, this is the preparation of students as a performer-musicians, on the other - the development of such personal qualities as the personality and responsibility of a future teacher, behavior, hard work, discipline. In our opinion, the ensemble, including the modern folklore ensemble, plays an important role in the preparatory classes. However, special attention should be paid to the organization of preparatory classes, rehearsals, their content and the ratio of types of ensemble, composition, repertoire.
The main attention in the development of musical culture is paid to students of schools and colleges with in-depth study of music. Republican specialized Kazakh music boarding schools for gifted children named after Baiseitova and Zhubanov in Almaty are among the schools with in-depth study of music in the country. Orchestral program of the Almaty musical college named after Tchaikovsky also keeps pace with the times. The age and playing skills of students are also taken into account.
Within our research, the students (1 to 4 year students) are taught the subject of the ensemble. Age features are around 15-19 years old. That is, the level of playing skills and musical education is also different. Students' level of musical knowledge and proficiency also differ. From this point of view, it is necessary to pay attention to the fact that the ensemble's repertoire should be chosen in such a way that it does not burden the undergraduates.
At first, it is important for students to maintain friendly relations with other members of the ensemble, work with compassion. Student psychology clearly senses this. Confidence increases when a professional teacher communicates with every student. Moral values and ethical education are also the keys to success. The famous conductor Igor Markevich spoke about this in detail in his works [3].
At the first lesson, an orchestra inspector and a student responsible for the library must be appointed. The second step is to introduce team leaders and the scope of work under their responsibility. It is required to come early to learn how to unscrew instruments, select chairs and music consoles, and how to care for instruments. The preparatory work with the first student orchestra is the same as the subsequent work including the further professional activities of the students.
The introduction lesson should be short and clear. This statement is confirmed by experienced conductors [4]. One of the main challenges is not to miss the enthusiasm of the students for playing together. If you have thorough preparation and a clear plan for initial training, students' interest will increase until the next preparatory lesson. Working with a student ensemble shouldn't be long and boring. Warm up with short, light, hilarious stories as a break in between. This greatly contributes to maintaining a fresh mood in the ensemble.
From the moment a student join a modern folklore ensemble, a teacher warns the student not to play biasedly, to be careful during the pause - the principle of discipline is the key to creative success. In the dynamic work of the leading ensemble,
it is necessary to take into account different methodological approaches. A student need to know about creativity, mood, various holiday gatherings and exams, which are held in accordance with the schedule of the educational system of that period. The best time to be productive and reach goal is before the exam.
It is also difficult for beginners to fulfill the basic conditions of the ensemble, such as reading a note on a piece of paper, playing together, listening to a neighbor. Therefore, from the first preparatory lesson to a public concert, the ensemble's repertoire should be conducted according to the "simple - difficult" system.
The choice of composition will be influenced by melodic music, which students can easily remember. This is also facilitated by their individual characteristics to think and remember. Therefore, students are to choose a shorter version of the music than a boring one. And we can quickly see the results of our work. We notice that interest grows over time, and gradually we move on to more complex work.
Frequently read songs and melodies from cartoons and children's films are easy to master. The role of television and radio is special here. It is not difficult to learn music that has been heard before. In this case, the students seem to want to quickly learn to listen to familiar music. It is necessary not to miss this opportunity, and tell the excerpts from the storyline, ask their opinion and keep them interested. We found that one way to get more active was to teach the newcomer to the ensemble a familiar melody, not an unfamiliar one.
One of the features of the professional activity of an ensemble leader is to find an individual approach to each student. When you are alone, the student can openly express his/her thoughts and explain to you that he/she does not like in music. This requires patience on the part of a teacher. If you identify and explain a problem, the student will quickly understand it.
Encouraging and praising a student as much as possible will also increase his/her activity. The teacher should express his/her wishes and comments to a student while indicating that he/she played well. It also increases the student's interest. There are many benefits to singing without instruments. In the course of studying singing, the level of the student's natural gifts is determined. This will help the facilitator identify what the student's problem is and what exercises might help him or her. As soon as a student hears his/her voice, he/she gives free rein to his/her creative imagination and tries to display it on the musical instrument.
We know that they have received special training and achieved some success. At times like these, raising the student's reputation and public recognition will also help move the work forward. The work is facilitated by the fact that the student has mastered his/her part, and then goes to play with the ensemble. The ability to focus on important things, such as the timbre and rhythm of other instruments, increases his/her ability to hear.
One of the factors, in addition to playing the instrument, influencing the formation of professional activity, is the history of creativity, the historical situation of that time, interesting stories from the life of the composer in the children's minds. Ask
them about the musical terms and symbols used in the playing parts, and you will get different answers. In the next lesson, you need to double-check and explain the correct definition in a memorable way.
While studying in a modern folklore ensemble, music relies on history, theory, solfeggio, etc. It is important to consolidate the knowledge gained in the lessons and repeat it in combination with ensemble music. This approach allows you to perceive the work as a whole and understand the idea at an early stage. The peculiarities of composition construction are revealed, where the main melody, additional melody, accompaniment, double voice are recognized.
We will discuss in detail the issues of texture, style, rhythm, but now we will talk about the artistic side. Every music scene, thought, part is rehearsed to express itself on its own level. We know that a piece of music is made up of many small pieces, each part of which shines and becomes one piece, and these pieces come together to form a single stage. Therefore, care must be taken to ensure that every detail gives the work a decorative and elegant look.
Students should not remain indifferent to the music of a modern folklore ensemble and should develop a professional attitude from the first lesson. The categories of beauty, purity of sound, and beauty should be taught to enhance the image in music. It is not an easy task to teach a student to feel the results of his/her work and get aesthetic pleasure from it. In this regard, the words of the Russian composer M. Glinka "The beauty of musical thought is the beauty of the orchestra's voice" come to mind [5].
If every child is born with the understanding that nature is not created from art, that he/she must be able to appreciate this art, he/she will become a professional with a musical culture. Many study programs and manuals on the subject of the ensemble contain several lists of world composers and folk music in the repertoire. We also find vivid versions in music of different nationalities.
Based on this, we see that the music of different peoples, formed over the centuries and used together with people, was used to teach different genres. Whether it's an ensemble version, an instrumental version, or a vocal version, it's written for everyone. And we do not doubt that this direction is correct. After all, it is known that a student who grew up on folk music is deeply immersed in world music.
This is not to say that there is no music on children's themes. This is because most of the later works are large works written for opera, ballet, special or professional orchestras. Only in the score of the republished opera of Brusilovsky "Kyz Zhibek", we see notes of many folk melodies. The orchestra is in second place in this ranking, as it is accompanied by the best singers [6].
Analyzing the works, we repeat the rhythm, the simplicity of the work, so that more complex works do not frighten the students. Adding tactics gradually is also a way to move forward. Our work with this method lasts 8-9 months. It will certainly take a long time.
We have witnessed a sharp decline in student activity. This does not mean that students are bored with the low artistic potential of the work. Having learned such complex compositions for a long time and having given a concert with difficulty only at the end of the year, one could quickly master short and light folk songs and perform more often at concerts.
It would be nice if, in addition to the examination requirements of teachers and students, the composition department of the conservatory had specially written compositions for the children's orchestra. The proof of this is the "Suite on the theme of Kazakh melodies" by the composer, conductor Gailfuss performed by the children's symphony orchestra [7].
If thirty to forty percent of the recorded music were included in the concert repertoire and received the consent of the listener, it would be a great achievement to be included in the musical portfolio of a modern folklore ensemble. Music has a positive effect on the upbringing and psychology of the younger generation and increases their professional activity in mastering the music of modern folk ensembles.
Undoubtedly, the modern folklore ensemble has a wide range of sound colors and a wide musical range, glorifying heroism and patriotism, exciting the imagination of students. This is evidenced by the scores of various composers who are among the masterpieces of world music..
The development and main problems of the ensembles can be explained by many social and artistic factors. The first is the emergence of new devices, obsolescence or renewal of obsolete ones. The second factor is the development of ensemble performance. The third factor is the development of the content and artistry of the works of composers for ensembles. One of the main problems is the influence of dissonant sounds in the performance of ensembles.
We believe that it is necessary to continue the development of musical instruments such as flute and zhetygen. The second problem is to perform Kui and songs in unison in many ensembles, as indicated in the arrangement column. In our opinion, an updated modern ensemble is needed with the preservation of these instruments, as well as the introduction of minor changes to the instruments. What dissonances do the ensemble sound like? What is it worth? First of all, it cannot be said that our folk instruments are still fully developed, although this applies only to individual instruments.
Kyl kobyz instrument. Since this instrument is made of leather, its sounds can change, creating dissonance. When performers joins an ensemble, they must keep track of the tuning of the instrument from start to finish of the song. Kyl kobyz was originally created for solo performance. In our opinion, this instrument should be adapted for a particular ensemble. This instrument creates one of the dissonant sounds in the ensemble.
What do we need to do? It is necessary to adjust the pure sound output without disturbing the colorful sound of the string kobyz. To do this, it is necessary to create new string settings, coordinating them with the famous masters of the country. Let us
take, for example, the Tuvan decorative instrument Byzanchi, the sounds of which, like the string kobyz, are performed with a bow. Like the string kobyz, it has 4 strings, and the strings are made of horsehair. The only difference is that the front side is covered with snakeskin, not like a string kobyz. Regarding string tuning, there are 4 tunings on the neck and a semitone sound tuning.
This means that you must maintain the settings while playing. Dissonance prevents sounds when combined with an ensemble. Leather devices are not affected by weather or air temperature. We hope that using such an instrument in the ensemble there will be no problems causing dissonance of sounds. We hope that the performers will not have any problems playing the instrument and with its constant tuning.
The leading role of dombra. The main dombra became the basis of the ensemble and one of the most important instruments. One of the biggest problems in many ensembles is the harmony of sounds. For example, when all the instruments are playing, zhetygen and bass dombra become inaudible. The prima kobyz and the button accordion are as easy to play as the dombra. To sound good in an orchestra, it is required at least three or four bass dombras and two or three counterbass dombras, cello, double bass cello. Because our Kazakh music is famous for its thick and languid sound.
And as in an ensemble orchestra, it is impossible to single out the good as a leading instrument. Even three or four zhetygens cannot do this. For this, in modern folk ensembles, the main dombra is replaced with an electronic bass guitar. This gives the ensemble a wonderful languid sound even when playing Kazakh music or a foreign composition. In our opinion, the disadvantage of our modern national dombra is that its sounds do not last long. Another problem is that our national instruments are not developing. Changes needed.
Difference between electronic bass and bass dombra As a simple example, if you need to stretch one sound per note, an electronic bass will sound tight and clean throughout the bar when played once, which means that it will not allow you to get clean dry sounds in the ensemble. The main dombra should be played twice in one measure or four times, depending on the length of the sound..
This violates the interpretation of the ensemble. If we keep playing bass like that, where will our bass dombra be? In folklore-modern ensembles, you can play foreign instruments. And it is generally prohibited for folk ensembles. Therefore, in our opinion, it is necessary to develop the main dombra. It is necessary to take the strings of an electronic bass guitar in precise electronic form, turn the bass into an electronic bass, and play with ensembles. Today, the Alatau folk ensemble, created on the basis of the Alatau Theater of Traditional Art, makes the same dombra and plays on it.
Zhetygen instrument. Another problem with ensembles is the mature instrument. The old zhetygen had seven strings, and there was an asyk between each string. Despite this, ancient legends were often fulfilled. Unfortunately, we have practically no masters of ancient instruments. In the future, it would be great if we could not
forget the old kuis and in a hurry perform the old kuis to the accompaniment of the ensemble. In the future, we would be happy if there were masters who could make the old type of zhetygen.
In order to expand the possibilities of performing compositions in ensembles and orchestras, a modern version was created. The works of Bolat Sarybaev, Nurlan Abdrakhman, Nurgul Zhakypbek made a great contribution to the creation of the modern version. Ancient and modern forms of zhetygen differ from each other only in the number of strings and volume. There are also seven strings for the first octave and two melodic strings for two octaves. If you combine them in an ensemble, then it will consist of twenty two strings.
This is the difference. This is a very good achievement, but it needs to be changed. It is very difficult to hear In ensembles. For example, in one concert there are three or four melodies, a song can be performed to the accompaniment of an ensemble. In this case, the tones change. And as to zhetigen instrument, the sharp adjusts the ear to the melody of the same song or melody, it takes a lot of time.
Zhetygen can play with two other zhetygens. To get a bright sound, there must be a tuning on each string. Such a masterpiece is currently being created by our master Nurlan Abdrakhman by order of the ensembles. In practice, it is realized only by the Alatau folklore ensemble and the Sazgen Sazy ensemble. Sazsyrnay, sybyzry are musical instruments. It is these instruments that cause dissonance in many ensembles.
I would like to note that the work of the composer Y. Usenov "Shynyrau kus" written in the footsteps of Kazakh fairy tales, as I noticed while working with the orchestra, had a great influence on the interest and activity of students [8].
Explaining to students how each piece of music tells a story was the basis for quickly learning the composition and performing it with particular interest. Numerous fairy tales and heroic epics, love epics, dark poems and folk songs, aitys and poems, rhetoric and proverbs, riddles have always occupied a special place in the education of future generations in Kazakh folklore. We also find that folklore is a source of energy necessary for the mind development. According to folklorist Berik Zhusupov, "the Samruk bird is a sign of goodness and a free spirit" [9].
We are not talking about the place of fairy-tale characters in mythology, the origin of names, their semantic characteristics. We talk about how the composer expressed this scene in the language of music. Inhaling the shadow of a giant tree near a clean source, admiring the beauty of the steppe and listening to the distant noise of the sparrows. The scene is beautifully depicted in D major, in the introduction. The work is written in 2/4 size. The interval of the minor and the first octave requint, set in the first measure, is in perfect harmony with the timbre of such instruments as sazsyrnay, sherter, dombra, kylkobyz.
During numerous concerts and rehearsals of the orchestra, we have witnessed that the audience and musicians perceived such works, which they perceived from a folklore source, with particular enthusiasm. The rooted world has always been a long-liver. In the course of the experiment, we noticed that the method of figuratively
explaining this type of music to students and interesting "revitalization" of characters in their minds does not increase or decrease the professional activity of students.
In this regard, it is necessary to have many such works that, in addition to attracting public attention, keep students active in preparing compositions for the concert stage and expand their knowledge, forming a positive understanding of ensemble music. Indeed, in all classes, except for the subject of the ensemble, folk melodies adapted for children are taught from the first lesson. We see the correctness of this direction in the experience of music schools in other countries. In addition to secondary special schools, this system is followed by general education or preschool institutions.
In 2010, in the textbook "Listening to Kazakh musical works" under the T. Maksyatkin's program of teaching and upbringing, we see a list of such folk songs as "Ay-ay, bopem", "Kamazhai", "Aksak kiik" kuiy of Kurmangazy [10].
"Kos alka" of Dauletkerei, "Swan" of Ykylas, "Saryarka" of Kurmangazy, "Saryzhailau" and "Sylkyldak" of Tattimbet are included in the textbook "Listening to Kazakh musical works" according to program "We go to school" in preschool education and upbringing. Dina's kui "Asem konyr" and "Bulbul", "Song of Amangeldy's warriors", "Zhar-Zhar", Kazakh folk songs "Karatorgai" and "Alatau" were performed [11].
Conclusion. These folklore works preserve the national characteristics of the Kazakh people. Consequently, it is possible to study them in a new direction through the music of modern folklore ensembles to form their national self-awareness, identity, national identity. In order to correctly and professionally convey to students the content and artistic value of folk music, a future specialist must be skilled with scientific and theoretical methods. Only a serious theoretical approach to the study of music can lead to good results.
The content of teaching vocational education in the field of musical ensembles should be included in the main part of the training program for a future specialist and should be carried out regularly in all educational institutions. We believe that each level of higher professional education should constantly humanize the curriculum, with the desire of the future specialist to become an educated and universal person. Playing in a modern folk ensemble requires a musician to master a variety of performing skills, which are a set of specific actions. The ability to competently plan work with an ensemble contributes to the development of not only each musician, but also the whole team.
As a way of shaping the professional activity of students of music colleges and universities, we proposed to create a new repertoire of ensembles. We believe that it is necessary to move away from the rigid classical repertoire of student ensembles, which has been stagnant for many years, find a new direction with a new impulse and adapt traditional national music to the ensemble.
For this purpose, we call on all our colleagues, conductors, composers, teachers who work a lot in this direction, who are not indifferent to raising children, to work
together on this difficult matter, which is important for the future of our country and nation. We must not forget that there are no big or small events that glorify the nation and glorify Kazakh art.
Thus, we also approve of the correctness of the system, which began with special music schools, and recommend to continue to expand the students' outlook in the school curriculum on the subject of modern folk ensemble to graduate further from university and become a professional musician.
REFERENCES
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6. Y. Brusilovsky. Kyz Zhibek. (score) - Almaty: Art, 2009, - 312 p.
7. O. Galefus. Suite on the theme of Kazakh melodies. Score. ISSA Library, No. 930 Manuscripts.
8. Usenov Y. Shanyrau kus. Score. Library of Otyrar Sazy AFEO, 3173 manuscripts.
9. Zhusupov B. Adyrna. - Almaty: Arna-b, 2011 - 384 p.
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