Научная статья на тему 'РОЛЬ ОДЕЖДЫ В ХУДОЖЕСТВЕННОМ ЗАМЫСЛЕ СОВРЕМЕННЫХ УЗБЕКСКИХ ФИЛЬМОВ'

РОЛЬ ОДЕЖДЫ В ХУДОЖЕСТВЕННОМ ЗАМЫСЛЕ СОВРЕМЕННЫХ УЗБЕКСКИХ ФИЛЬМОВ Текст научной статьи по специальности «Искусствоведение»

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Ключевые слова
киноискусство / костюм в кино / работа художника по костюмам / фильмы Ёлкина Тойчиева / Зульфикора Мусакова и Аюба Шахобиддинова. / cinema art / costume in cinema / work of a costume designer / films by Yolkin Toychiev / Zulfikor Musakov and Ayub Shakhobiddinov.

Аннотация научной статьи по искусствоведению, автор научной работы — Миррахимова Шахноза Рустамовна

статья посвящена роли костюмов в реализации творческих замыслов режиссеров в современных узбекских фильмах. Рассмотрена фильмография таких режиссёров, как Зульфикор Мусаков, Ёлкин Тойчиев и Аюб Шахобиддинов, активно работающих в киноискусстве Узбекистана. Рассмотрены такие картины как «Чашма», «Илова», «Паризод», «Две тысячи песен Фариды», «Дом русалок», «Горячий хлеб», «Коргошин». Предпринята попытка проанализировать, в какой степени сила художественных фильмов раскрывается через дизайн костюмов, художника и художника по костюмам.

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THE ROLE OF CLOTHES IN THE ARTISTIC CONCEPT OF MODERN UZBEK FILMS

the article is devoted to the role of costumes in the realization of directors' creative ideas in modern Uzbek films. The filmography of such directors as Zulfikor Musakov, Yolkin Toychiev and Ayub Shakhobiddinov, who are actively working in the cinematography of Uzbekistan, is considered. Such paintings as "Chashma", "Ilova", "Parizod", "Two thousand songs of Farida", "House of mermaids", "Hot bread", "Korgoshin" are considered. An attempt is made to analyze the extent to which the power of feature films is revealed through costume design, artist and costume designer.

Текст научной работы на тему «РОЛЬ ОДЕЖДЫ В ХУДОЖЕСТВЕННОМ ЗАМЫСЛЕ СОВРЕМЕННЫХ УЗБЕКСКИХ ФИЛЬМОВ»

PIANO ENSEMBLES IN THE WORKS OF UZBEK COMPOSERS

Mirzakamalova E.R.

Mirzakamalova Elnura Rustamovna - Senior Lecturer, DEPARTMENT OF GENERAL PIANO, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN

Abstract: ensemble art has existed in Europe for a long time, and by the second half of the 18th century it was widely developed and became an integral part of the musical world. The regular holding of musical evenings in noble houses, the performance of solo and ensemble works of various genres on the piano, the performance of songs to the accompaniment of the piano, dances are the reasons why the piano becomes one of the favorite instruments. at home, and students are taught to play the piano. By the 19 th century, the demand and need for piano works led many composers to create a series of works for piano four hands, resulting in a new series of masterpieces of varying complexity.

Keywords: music, ensemble, piano, orchestra, duet, composer, instrument, dynamics, note.

ФОРТЕПИАННЫЕ АНСАМБЛИ В ТВОРЧЕСТВЕ УЗБЕКСКИХ

КОМПОЗИТОРОВ Мирзакамалова Э.Р.

Мирзакамалова Элнура Рустамовна - старший преподаватель, кафедра специального фортепиано, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан

Аннотация: ансамблевое искусство существовало в Европе давно, а ко второй половине XVIII века получило широкое развитие и стало неотъемлемой частью музыкального мира. Регулярное проведение музыкальных вечеров в дворянских домах, исполнение на фортепиано сольных и ансамблевых произведений различных жанров, исполнение песен под аккомпанемент фортепиано, танцы - причины, по которым фортепиано становится одним из любимых инструментов в домах, а учеников учат играть на фортепиано. КXIX веку спрос и потребность фортепианных произведениях привели многих композиторов к созданию серии произведений для фортепиано в четыре руки, в результате чего появились новые шедевры разной сложности.

Ключевые слова: музыка, ансамбль, фортепиано, оркестр, дуэт, композитор, инструмент, динамика, нота.

The works for four hands of the late 18th and early 19th centuries were designed for intermediate piano players, and many music lovers could play them freely. Such works were successfully used in educational practice. Playing with four hands developed ensemble skills in adults and students. As a result of this practice, the dark side of the piano duet opened up and made it more popular. The four-hand texture had the ability to create orchestral effects. The four-handed piano created a wide range of tutti, different styles of simultaneous sound output, and great opportunities for playing bars. For example, it served to clearly express the simultaneous sounding of held or moving sounds, legato, non-legato, staccato and other timbre characteristics of orchestra groups.

It is known that most of the works written for the piano ensemble have orchestral, instrumental and solo performances. The four-hand versions of works created for the orchestra at the border of the XVIII-XIX centuries became one of the first important new tasks of the piano duo - they became the spreaders of musical enlightenment. Because listening to a symphony and playing it are not the same thing. Acquainting yourself with a piece by carefully listening to it many times is not the same as getting to know it by performing it, expressing it in your own interpretation. Comparing different versions of the same piece allows you to look into the composer's creative laboratory, to understand the unique language of orchestration, and to feel the connection between symphonic and piano works. It is not just a transportation process, but in some sense it is a participation in the creative process. Soon it became customary to perform symphonic, chamber-ensemble, and later opera works in the form of four-hand adaptations. In those centuries, music connoisseurs and experts got acquainted with works of various genres precisely through the performance of an ensemble. How many great works have become famous through the widespread use of their four-handed appearance.

The symphonies and chamber works of Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, Tchaikovsky, Liszt's symphonic poems, and piano ensemble adaptations of Wagner and Verdi operas were the

only way to become intimately familiar with these works until the widespread development of mass media in the 20th century. . This task of the piano ensemble has retained its importance and essence even today.

The orchestral principle inherent in the nature of the piano duet has often encouraged composers to orchestrate their own works, and sometimes the works of other authors. In the future, there are many cases where the works adapted to the piano ensemble will be better known than their original form. Pieces from "Hungarian Dances" by Brahms, "Slavic Dances" by Dvorak, "Students' Performance" by Bizet, "Little Suite" by Debussy, "Mother Duck" by Ravel, "Good Mood" by Muhammed Otajanov, "Yogdular", "The fate of Ohanrabo's" works is widely known through such piano duets.

Performance programs for piano ensembles can be divided into specially created original works and adapted works. Adapted works are mainly aimed at popularizing symphonic music. Both parts of all types and repertoires of the piano ensemble (concert pieces and works adapted for piano) can be successfully used during the training process. Orchestral transcriptions are a great resource for developing sheet-reading and note-to-play skills. Special duet works and concert transcriptions, as they are intended for public performance, require a full and transparent performance from the performer. Studying such works helps to understand the various requirements of the ensemble, enrich the performers creatively, and improve their pianistic skills.

Performance dynamics also play an important role in ensemble performance. It is the dynamics that reveal the soul of the work. The most common defect in student performance is dynamic uniformity, always playing in mf and f In the first lessons of 4-hand ensemble playing, we rarely observe playing in low p.

The dynamic range of four-handed performance should be wide, not restrained compared to solo performance. Because the presence of two piano players makes it possible to use the keyboard more fully, to use larger chords, and to use the power of two players equally to achieve a dynamic effect. It is very important to get the student to have a clear idea off and ff levels. When talking about the general dynamic plan of the work, it is necessary to determine its climax. It is advisable to always play the ff relatively strongly, not with too much force. As for transparent pp, in 4-hand performance, each performer can also play a solo. It is useful to play the nuance of mf, reminding that there are also mp, p, pp dynamic characters. Because students need to realize how many means of expression they are deprived of. But no matter how well the teacher shows dynamic signs, it is very difficult for students to achieve the desired results in this regard. Because working on sound is a painstaking process.

Technical tasks also increase depending on the complexity of the artistic features and interpretation of the images in the joint performance of the work. Difficulties in polyrhythms, use of timbral possibilities inherent in a duet, use of a pedal on the second piano are among them.

Playing four hands on one piano differs from solo playing primarily by sitting at the head of the instrument. Because each performer has only half of the keyboard at his disposal. Partners should hold the keyboard "across each other" and keep their elbows out of each other's way. This is especially important when voices converge and intersect.

When playing on one piano with four hands, the second voice (Secondo) player uses the pedal. Because it usually forms the basis (bass, harmony) of the melody that sounds above. In this case, it is necessary to carefully monitor the implementation process of the neighboring party, to be able to listen taking into account its executive "interests". This is the skill of not only listening to what one plays, but also being able to hear what the partner is playing at the same time. More precisely, the common voice of both parties united into a whole is the basis of all forms of cooperation. Solo performance teaches the performer to listen to himself. His focus is on a specific mission, and it is not easy to change that mission. The teacher's words "You are not listening to your partner" should be understood as "You are not listening to what you are doing together". It's helpful to have the second part player use the pedal while the first voice plays his part without playing anything. It is noticeable how unusual it is. This requires special attention and skill from the student. Then the performers should be replaced. Then the student realizes that he does not yet have the necessary technique.

There are many cases of discontinuity in playing with four hands. This happens because the student does not have the basic skills to turn sheet music and count long breaks. When performing an ensemble, students should agree in advance who will turn the page depending on the availability of hands. Depending on the position of the pauses, the performers must determine among themselves which part of the musical text is the least lost in the transition, if there is no free hand, to turn the page. At that time, it is necessary to quickly and nimbly turn the page with one hand and continue playing with the other. A lot of special training is also required for this. As far as possible, memorizing the last note line of a page will relatively reduce the number of interruptions in the musical text. Piano players do not have the ability to calculate long pauses like popular orchestras. Therefore, it is necessary to explain to the participants of the duet that each pause bar is necessary only during the familiarization with the musical text, and later it will not be necessary. The easiest and most effective way to overcome unnecessary excitement and fear during a break is to play a tune with your partner. Then the pause will not be a boring waiting time and will be filled with a lively musical feeling. The simplest seems to be to start playing together. However, it is not easy to get two sounds at the same time, it requires a lot of preparation and mutual understanding.

It is necessary to explain to the students the technical conditional acceptance of the conductor's auftakt movement and how it can be used by the piano player in this case. When performing on a single or side-by-side instrument, when the hands of the performers are visible, indicate with a slight movement of the wrist (via a well-defined high point), and when the hands are not visible, with a head movement or eye glance of the performer can be gestured. It is also useful to advise that both performers simultaneously breathe (literally breathe) during the movement. This makes the beginning of the performance natural, organic, and relieves tension.

It is also necessary to pay attention to small defects that occur in the harmony of sounds. Not everyone can acquire a skill that seems simple at first glance. Here it is very important to pay attention to the fact that finishing the piece together is as important as starting it together. Ending chord sounds in different seconds that are not played together breaks the pause and creates an unpleasant impression. Here, it should be emphasized that the importance of expressing the pause is very great. Neglecting the pause is one of the most common mistakes.

References / Список литературы

1. Muhammadjonova Z. Fortepiano ansambli o'qitish uslubiyoti. T., 2010.

2. Zimin P. Istoriya fortepiano i ego predshestvennikov. Moskva, 1968.

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