CC BY
5
УДК 78:352
Ruzmetov Z.I.
Master's degree in TSPU after named Nizami
METHODS OF TEACHING THE SALT SIGN OF STUDENTS-
MUSICIANS
Abstract: This article discusses methods of teaching solo singing to student musicians
Keywords: method, culturological approach, empirical method, concentric method, phonetic method, auditory control method
Adoration of straw singing (vocal accent) is a process of active interaction between a vocalist and an obsolete straw singing, the content of which constitutes mastery of one's knowledge and skills based on the traditions of classical vocal school. The enlightenment of thatch academic singing involves a certain setting of the body and head when singing, possession of mixed breathing with dominance of the costa-abdominal, possession of all types of attacks of the singing sound with a predominance of soft attack, the formation of a high singing position of the sound (singing formant), the uniform register structure of the vocal apparatus, singing savagery, equal possession of both methods of performance technique, and methods of meaningful transmission of an artistic image. Such a multidirectional development of the singer in the vocal class involves the application and implementation of many methods that have passed the test of time and allow you to efficiently, with minimal cost, achieve the best results.
The empirical (explanatory, illustrative, reproductive) method - the method of display and imitation ("Sing as I sing") is still leading in vocal training. Narrowing and analyzing the vocals and metal literature, it can be noted that many researchers are the first to isolate this particular method. So, LB Dmitriev wrote that "... he is highly visible, contagious, accessible, makes you intuitively find the necessary devices. At the same time, all possible factors, signaling how to do this, affect the supporter: vision, hearing, emoeioninal excitement from a tune of good ringing - all this inspires, mobilizes to overcome the difficult task. This story cannot be achieved by any stories ... ". It is difficult to explain many practical requirements in vocal performance with words, for example: the singing support of sound, the "continuity" of breathing, the degree of roundness, the "covering" of sound, the head resonance, the high position of the singing sound, etc. This is due to the fact that the singer's voice apparatus, his "instrument" (in contrast to other musicians who have instruments of the outside world: piano, guitar, button accordion, etc., and hands as a means of performance) is a human organism , it is "hidden" inside it and is controlled only by subjective internal sensations. That is why the empirical method in vocal training dominates as in no other area of musical performance.
LB Dmitriev considered both positive and negative aspects of this method. "A positive quality of imitation is its unprofitable effect on the vocal apparatus
...", a positive one, the teacher does not always have a perfect vocal form, therefore it is more expedient to use this method "lick in separate services with caution to show the elements of a particular technique or move". Also, modern technical capabilities are such that a teacher can replace his voice with listening to audio recordings (on any media) of world singers' performance, while his performance is absorbed in a singing standard. The konenterzhsky method is aimed at developing the voice and its range. It is advisable to press to develop a voice from primary tones (the middle of the voice range) with an upward movement to a calmly tapping note, and then moving downwards, including all registers, also to the lowest quietly tidy note. In vocal training for the development of a voice to the method of contingency, a straight-line or pulling tone was used from bottom to top method, pulling out from the bowels of an Italian school. In all the schools of singing, "vocal exercises were located in the same way as in the schools for violin, piano, etc.
They clicked" pulling "tones from the lower limit upwards, with all the registers in a straight line to high limiting tones and then in the reverse order. Such a method can be characterized by the words: instrumental, straightforward or drawing tones from bottom to top " In the Russian vocal school, the great Russian composer, singer (tenor) and singing teacher M.I. Glinka is imbibed with the creator of the method of horse-racing method. The great maestro said: "According to my method, you must first improve the natural notes, little by little then you can bring the rest sounds to a possible perfection". In Russia in the first half of the nineteenth century the following works emerged: a practical manual by M. I. Glinka "Exercises for Equating and Improving the Flexibility of Voice" written for O. A. Petrov (1807 - 1878) 7 (using this method is more expedient "lick in separate services, with caution, show the elements of a particular reception or move. "3 Also, modern technical capabilities are such that a teacher can replace his voice with listening to audio recordings (on any media) of world singers' performance, and his performance is imbued with this.
We have developed a method of neutralizing (aligning) vowels in singing, which allows us to efficiently carry out individual selection and compilation of vocal and technical tee tubes using the articulating organs of the oropharyngeal canal: lips, tongue, soft palate, pharynx, pharynx, musculature, moving lower limb the student's formation in the process of vocal fusion of the free articulation apparatus, which is necessary when singing and is achieved by many methods and exercises: vocal-technical. The existing multiple exercises (techniques, the inappropriate use of which depend on the skill of the teacher) in their entirety constitute the phonetic method. This method, like other methods, includes elements of display and imitation in the formation of vowels, that is, there are some elements of the empirical method, comparative control, etc. Therefore, in the process of enriching straw singing, different methods organically coexist, mutually complementing each other.
The method of internal intonation (mental singing) in vocal training is used in the cultivation of complex intoneaionic and tessitory places of a vocal work, in
order to develop a high singing position of the sound, as well as one of the methods of tailoring, repeating and performing perfection of the vocal repertoire. This method can be successfully applied in the independent work of student musicians. For the history of the development of vocal pedagogy, many vocal teachers of the Italian and Russian vocal schools used this method to enlighten straw singing. So, P. Tosi spoke out: "Singing requires persistent diligence; it requires the fellow practitioner the ability to coexist mentally, if he cannot do this, half-voice his voice. " M. Garcia (son) wrote that "mastery of intonation, intervals, and livelihood depends on how clearly the clerk can imagine that he needs a p et" F. Lamperti singled out mental and imaginary notes, and emphasized in "Soviets": "You need to coexist with the mind, not the voice, for, having weary the voice, by no means can you bring it back to a cold state". I.P. Pryaniznikov before the lesson recommended mentally introducing the intonation and character of the sound. D.L. Aspelund emphasized the bolisy significance of inner singing for the technical and creative work of singers.
Thus, all the methods consideredare the most applicable, traditional in vocal training. Basically theytake the click from the italian singing of singing, andfocused on the formation of technicalmastery of the greatest singer.
Literature:
1. Dmitriev L.B. Basics of vocal technique. 2nded., revised. - M .: 1996. - P.324.
2. Menabeni A.G. The technique of enlightening straw straw singing.Already. benefits for students of ped. - M .: 1987 -P.78.
3. Oshchepkova O.V. Teaching aspects of the formation and development of artistic and creative abilities(based on teaching music): Dis ... doctorate. pedn - M .: 2000. - S.203.
4. Шаходжаев, М. А., Бегматов, Э. М., Хамдамов, Н. Н., & Нумонжонов, Ш. Д. У. (2019). ИСПОЛЬЗОВАНИЕ ИННОВАЦИОННЫХ ОБРАЗОВАТЕЛЬНЫХ ТЕХНОЛОГИЙ В РАЗВИТИИ ТВОРЧЕСКИХ СПОСОБНОСТЕЙ СТУДЕНТОВ. Проблемы современной науки и образования, (12-2 (145)).
5. Фарходжонова, Н. Ф. (2016). Проблемы применения инновационных технологий в образовательном процессе на международном уровне. In Инновационные тенденции, социально -экономические и правовые проблемы взаимодействия в международном пространстве (pp. 58-61).
