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7MUSICAL ARRANGEMENT OF FOLK STAGE DANCE
Urazbayeva Albina Baxtiyarovna State Academy of Choreography of Uzbekistan
Abstract: One of the most important tasks of the choreography of concertmaster activity is the fruitful work of the accompanist with both the soloist and the entire dance group, during which the formation and development of musical and rhythmic movements takes place, and most importantly - the mastery of the complex art of communication with both the soloist and the team. This is exactly what is covered in this article.
Keywords: music, rhythmics, dance, melody industry, listening to music, composition, composer.
The concertmaster's work on the piano part is based on a comprehensive analysis of the musical composition. The analysis is necessary to identify the stylistic features and technical difficulties of the composition. It promotes the assimilation of the musical text, helps the accompanist in drawing up the performance plan of the work and finding expressive means of its practical implementation. Any performing concept should be based on a theoretical foundation, so the pianist must know as much as possible about the composition. The process of working on the accompaniment part can be divided into several stages:
1. Предварительное зрительное прочтение нотного текста.
2. Музыкально-слуховое представление.
3. Первоначальный анализ произведения, проигрывание целиком.
4. Выявление стилистических особенностей сочинения.
5. Отработка эпизодов с различными элементами трудностей.
6. Создание художественного образа музыкального произведения.
7. Правильное определение темпа.
8. Нахождение выразительных средств, создание представлений о динамических нюанса.
1. Preliminary visual reading of the musical text.
2. Musical and auditory performance.
3. Initial analysis of the work, playback in its entirety.
4. Identification of the stylistic features of the composition.
5. Working out episodes with various elements of difficulties.
6. Creating an artistic image of a musical work.
7. Correct determination of the tempo.
8. Finding expressive means, creating ideas about dynamic nuances.
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9. Elaboration and polishing of details.
10. The embodiment of a musical and rhythmic performing idea.
These stages determine the essence of the work on the piano score. You need to start working with playing the works completely. This will allow you to better understand the nature of music, identify difficulties and set yourself certain tasks.
Often the weak side in parsing is the presence of random false notes. This indicates a lack of attention and leads to problematic situations. The concertmaster must develop a sense of self-control. Only then will he avoid illiterate memorization.
An important role is played by the presence of an accompanist of one of the components of musical abilities - a sense of rhythm. In pedagogical practice, it is quite often necessary to deal with violations of the tempo. The feeling of the counting unit will help to maintain the pace throughout the composition. It is impossible not to mention the change in size. An auditory representation of each size will help the pianist in this.
Of great importance at one of the final stages of the work are the selection of expressive means and the coloring of the sound. Dynamic changes occur all the time in music: strong and weak sound, rise and fall of sonority, contrasting moments. It is the coloring that enriches the sound palette and gives a piece of music a special brightness.
Working on a piano part is a long process. It is necessary to develop the skills of accompaniment and systematically train. Various types of exercises will help to improve technically: canons, scales, arpeggios and chords.
In practical work, the accompanist often has to meet with a diverse repertoire, there are difficult places in the works, it is necessary to find the most rational solution to overcome them.
It is better to teach at a slow pace or in such a way that is most favorable in order to eliminate the existing shortcomings.
Pedalization is of great importance in the work of an accompanist. Skillful use of it will help the concertmaster in performance. And, of course, the skills and professionalism of the concertmaster will play a huge role in emphasizing the peculiarities of the timbre coloring of the accompaniment part, which will give a tangible effect to the musical composition as a whole.
Thus, the main task of the concertmaster is to create a holistic artistic image, which is important for dance.
What is choreography? Its place in the educational process.
Perhaps there is no such corner in the world where you have not heard about the magical world of dance. Each of us likes it when someone dances beautifully and easily. But not everyone knows that to do this, you need to work systematically and achieve results without stopping there. To dance beautifully, you need to master your
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body perfectly. Where did this concept of choreography come from? The word "choreography" itself is of Greek origin, it means "to write a dance". But, later, this word began to be called everything that relates to the art of dance.
Choreography is an art loved by children. Every year hundreds of dance art lovers come to choreographic amateur groups, dance ensembles of our city. Every year, the number of secondary educational schools is increasing, in which rhythmic and choreography lessons are introduced.
In these lessons, children develop the motor apparatus, which includes both bones and their joints, joints, ligaments, and muscles. Exercises promote the development of mobility in the joints, strengthen and elasticity of ligaments, develop certain muscle groups.
Moral and ethetic role in the development of musical dance art in the formation of a comprehensive harmonious personality.
Rhythmic and choreographic lessons are an effective means of aesthetic education. They allow students to develop musical perception, musical hearing, memory, sense of rhythm, expressiveness, grace of movements. And all these are components of a comprehensive and harmonious development of personality.
Comprehensive personal development is one of the main tasks of education at the present stage of development of society.
A special role in solving this problem belongs to the subjects of the aesthetic cycle (music, fine arts), including choreography, which is now being introduced in secondary schools.
Music and choreography contribute to the development of children's musical and dancing abilities. In addition, introducing children to the art of dance allows not only to comprehend the aesthetics of movements, but also contributes to solving one of the important problems of aesthetic education - the problem of modern dance. Moral and aesthetic foundations are laid, on which a system of purposeful educational process is built in the future.
Dance as an integral part of the development of culture. National peculiarities of dance.
Before you start teaching children the ABC of choreography, it is worth introducing them briefly to the origins of dance, explaining that dance is not only rhythmic movements to music, but one of the oldest forms of art. It is an integral part of the development of culture.
Each folk dance has its own national characteristics, each dance has its own style of performance, because each nation has its own national character, language, custom, ritual.
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Songs, dances, music contain the breath of the history of the people. In order to know the dances of your own or another people well, you need to know the customs, culture and art - what reflects the dance.
Dances were loved and performed not only by the people - they decorated receptions and celebrations, admiring grace and beauty.
In folk dance there is always an organic unity of content, character of movement, music of costume. All these components make up the integrity of the dance, determine its artistic value.
Costume as one of the components that make up the integrity of the dance.
Costume is of great importance in dance. To change it, regardless of the style of dance, the local flavor, means to destroy the integrity of the artwork.
The costume determines the style, character, and movements in the dance. A long sundress in an old dance decorates the movements of a girl, gives her grace, smoothness. What we call the "swan step".
What is the power and beauty of dance?
First of all, in the truth of life, in optimism, in the completeness of artistic images, which reflected the history of the people, their customs, national traits: breadth, courage, modesty, prowess.
Folk dance art is wonderful because the mind and talent of not one person, but entire generations are invested in it. Here it is appropriate to recall the words of M.I.Kalinin: "The people are like a gold digger. He chooses, preserves and carries, polishing for many decades, only the most valuable, only the most ingenious
The role of music in teaching dance art
In order to perform a particular movement, you need to pick up music.
Performing dance movements to music is the most effective form of creating a correct understanding of the nature of movements in children.
The question of the relationship between music and movement has been repeatedly revealed in pedagogical and psychological literature. Speaking about the great importance of music in the development of movements, the teacher N.A.Vetlugina notes: "... very close relationships are established between music and movement with their simultaneous performance. They are united by the same poetic content. The decisive role is played by music, the development of its images. Movement, accompanying music, expresses precisely its figurative content. An important question arises about the unity of the child's perception of music when he moves, and the movements with which he seeks to express its content.
Selection of musical works for choreography
When selecting a piece of music, its correspondence to the nature of the movements is taken into account. For movements that differ in clarity, rapid change of
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direction of movement, musical compositions with short musical phrases, with accentuated strong parts of the beat are necessary.
The main movements require music of a calm nature with longer musical phrases.
In the rearrangements, the change of movement requires a two-, three-part form of a musical composition, the nature of each part should be different. This makes it easier to perform the corresponding movement.
Requirement for the concertmaster-performer of works
Expressive performance of music is the main methodological technique of the concertmaster. Music encourages the child to move. It gives him real pleasure to completely merge with music. The perception of the music and the understanding of the musical image and, ultimately, the quality of the movements performed depend on how the concertmaster performs a piece of music.
Distorted performance of music is especially harmful for children, as children get acquainted with the world of musical art. Music as an art form is always meaningful, so movements to music become meaningful, emotionally colored.
Each performance should be emotional and expressive: phrasing is soft, natural, without arbitrary stops.
References
1. А.Баранов Развитие артистизма у детей в детских хореографических коллективах»,- М., («Дополнительное образование»,-200З, N91.
2. С.Руднева, Э. Фиш « Ритмика. Музыкальное движение», М., « Просвещение», - 1972.
3. В.Светинская («Танцевальные постановки для детей», - М., « Музыка»,1966.
4. «Театральная энциклопедия. Классический танец», М., Советская энциклопедия,- 1964, с.64.
5. И.С. Петров Формирование музыкальной культуры у учащихся, _
Чебоксары, 1987.
6. Эстетическое воспитание школьников, - М., Просвещение, 1994.
7. И.И. Бочкарёва, Русский народный танец: теория и методика. к., Кемеровский государственный университет культуры и искусства, 2006.
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