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ROLE OF MUSICAL ART IN THE FORMATION OF THE YOUNG GENERATION FROM THE POSITION OF NEW IDEOLOGICAL VALUES Mirzaev AA.1, Abdullaeva MA.2
1Mirzaev Akbarjon Abdurahimovich - Associate Professor, Dean, INSTRUMENTAL PERFORMANCE DEPARTMENT;
2Abdullaeva Munavara Abdulakhadovna - Associate Professor, DEPARTMENT OF UZBEK LANGUAGE AND SOCIAL SCIENCE, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the trends of the modern world are such that the commercial music and entertainment industry is becoming all-consuming, displacing world artistic treasures accumulated over thousands of years. Today's youth with the skills of computer technology is increasingly amenable to the propaganda of pop culture, which does not require either special qualities, professional skills, or the expenditure of mental or spiritual strength. This article analyzes how these technical means are used in the art of music, and how these technical means relate to the nature of musical art and the nature of its performance. As well as the role of the teacher to meticulously introduce young people to the difficulties of the creative process.
Keywords: music, entertainment industry, musical technical means, art, spiritual education, young generation, spiritual values.
РОЛЬ МУЗЫКАЛЬНОГО ИСКУССТВА В ФОРМИРОВАНИИ МОЛОДОГО
ПОКОЛЕНИЯ С ПОЗИЦИИ НОВЫХ ИДЕОЛОГИЧЕСКИХ ЦЕННОСТЕЙ
12 Мирзаев А.А. , Абдуллаева М.А.
1Мирзаев Акбаржон Абдурахимович - доцент, декан, факультет инструментального исполнительства; 2Абдуллаева Мунавара Абдулахадовна - доцент, кафедра узбекского языка и общественных наук, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: тенденции современного мира таковы, что коммерческая музыкально-развлекательная индустрия становится всеобъемлющей, вытесняя накопленные тысячелетиями мировые художественные ценности. Современная молодёжь, с легкостью овладевающая навыками компьютерных технологий, все больше поддается пропаганде массовой культуры, не требующей ни специальной подготовки, ни профессиональных навыков, ни затраты умственных или духовных сил. В данной статье анализируется, насколько технические средства привносят пользу в музыкальное искусство и как эти технические средства соотносятся с природой музыкального искусства и способов ее исполнения. А также роль педагога в приобщении молодежи к трудностям творческого процесса.
Ключевые слова: музыка, индустрия развлечения, музыкальные технические средства, искусство, духовное воспитание, молодое поколение, духовные ценности.
Modern socio-political, economic, environmental, and cultural upheavals bring sharp contradictions into people's socio-political and ideological life, along with an increasing demarcation of the ideological ideas of young people in particular throughout the world [1].
Gigantic scientific and technological progress creates the illusion that technology should be the main content of the life of a modern person. In the era of universal computerization and familiarizing a person with scientific and technical devices, such as television, and the Internet, the younger generation tends to belittle the importance of art, assigning it, at best, the role of either entertainment or a pleasant hobby. This limitation leads to the fact that simple pop performances become popular, gathering a huge number of fans.
With the help of technical means, such shows are equipped with pyrotechnic and lighting effects, behind which it is so easy to hide the lack of professionalism and talent of the performers. Often the performers are completely unprepared, poorly trained young people, whose only advantage is youth and good looks. The lack of talent or even just ordinary skill is easily hidden by such inventions of modern technology as the phonogram. It was assumed that scientific and technological progress would help to free up people's spare time just by raising the level of production so that a person could devote his creativity to art. It is believed that a developed civilized society should provide more and more opportunities for creative pursuits [2].
Therefore, why is the art and, first of all, musical art so important in the upbringing and formation of the spiritual world of people? Since music has been the most emotional and one of the most accessible art forms, its sounds can influence any listener, trained or not trained professionally, because music affects not the mind, but the finer structures of the human body. Through hearing, reaching the depths of the human subconscious, music is able to form the spiritual ideals of a person, subsequently helping this person to overcome the difficulties associated with
becoming, ennobling the inner world of a person [3]. However, paradoxically, music can as well have the exact opposite effect. Entertaining music of low quality, as well as abstract music that claims to be completely independent of life's connections, can lead to the formation of a persistent decadent attitude towards life values and the surrounding world in general. Such music loses its main function - to ennoble the human personality, enrich it spiritually, and elevate the personality above the base values that overwhelm the modern world of consumer society. This mainly concerns musical works created with the help of "electronic" means. It is no coincidence that engineers, not musicians, create such music. While creating such music, the process that is so important for creating a true work of art is lost. In addition, less time and creative effort are spent on creating such music, while a real work of art that is born in the throes of creativity, requires huge emotional and physical costs. Whether it is a composer or a performer, the master will hone his/her work for a long time, bringing it to perfection, moreover, he/she will most likely still experience the torment of doubt - is his/her work good enough to release it to the public. In addition, precisely such works of genuine art become uncompetitive in the market of consumer culture.
Undoubtedly, technical means bring great benefits to the art of music, but only where these technical means are related to the nature of musical art and the methods of its performance. Modern cinematography, radio, and television use technical means to enrich works with completely new and interesting possibilities. The purity of sound on modern discs is an order of magnitude superior to the primitive sound on vinyl discs and magnetic tapes used in the last century. Composers got the opportunity to include in their works the sounds of nature and the noises that surround us in everyday life with a special background. However, without denying the importance and inevitability of using modern technical means in the art of music, it is necessary to think about the correctness and appropriateness of using these means. For, no matter how interesting and fascinating they may seem at first glance, excessive enthusiasm for new methods of shaping can lead to significant losses in the truly creative process, and as a result, this can affect the quality of a musical piece.
Modern youth, cut off from genuine art by a screen of self-sufficing advertising, aggressively imposing low-grade products of dubious quality, with the only goal to be profit, does not have the opportunity to join the true values of classical and contemporary art. In the contemporary world, the overwhelming power of advertising, pursuing the younger generation with bright but uncomplicated plots, is the main guideline in the choice of products, including musical works of art. Moreover, the flow of information that falls from the Internet, radio and television on the still unformed minds of modern teenagers is so huge that it becomes at least problematic to understand the quality of such products. In such conditions, works of world classical art are drowning in an ocean of easily accessible pop culture products. Moreover, folk art is becoming crowded out due to competition. Folk music cannot compete with pop culture. This situation leads to the fact that young people are gradually losing their roots and their national identity, slowly but surely joining the entertainment culture. The reason for this popularity of pop culture lies not in any advantages of Western values, but rather in how aggressively and intrusively Western promoters distribute their products. In addition, in order to listen to classical or folk music, for example, the Uzbek maqom, one needs concentration, some detachment, in other words, certain surroundings, such as a concert hall or at least silence in the apartment. While pop music can be in the background during doing some tasks or chores. This fact, of course, also makes pop music more attractive to the ever-hurrying youth.
Thus, teachers, coaches, and educators of young people today have been facing the question - of how not to lose the current generation, and how to introduce them to national values. In other words, how to teach them to think, empathize and independently choose priorities, how to form an aesthetic taste, how to teach them to appreciate the beauty of music, while being able to distinguish the vulgar from the sublime, the bad from the good. A large influx of students to music schools and higher musical educational institutions suggests that young people are drawn to musical culture. This should be used not only to instill in them good professional qualities but also to form the patriotic quality of love for folk national art, and good taste in understanding classical and modern world culture, in particular music.
It is the teacher, being in constant contact with his/her students, has an impact on youth's ideas about the world around with all its contradictions. Only the teacher may help form and enrich the inner, spiritual world of his/her students, revealing to them the numerous possibilities of human consciousness that affect the worldview and morality. It is impossible to ignore the fact that for almost a century of the existence of the Uzbek musical and educational school, a huge theoretical and practical experience has been accumulated in the musical and aesthetic education of young people.
However, the trends of the modern world are such that the role of a teacher and educator is noticeably declining, unable to compete with the commercial music and entertainment industry. Modern youth, who easily master the skills of computer technology, are increasingly amenable to the propaganda of mass culture, which does not require any special training, professional skills, or the expenditure of mental or spiritual strength. It is becoming more and more difficult for teachers to keep the attention of students, trying to methodically introduce them to the difficulties of the creative process. It may seem that the authority of the teacher will continue to fall and nothing can be done since progress cannot be reversed. However, nothing can replace the personal, direct communication of the student with the teacher, especially when it comes to the creative process. Therefore, the teacher should strive to master modern technical means himself and be aware of all new trends in art in order to use modern technologies in the learning process. In a word, current trends require teachers to rethink pedagogical methods, taking into account new technologies.
However, the new tasks and ideas born in the modern era should not lead from the values and experiences that humanity has acquired during the centuries. The theory and practice of music education are inextricably linked with the cultural heritage of past eras. Every artist should draw inspiration from national roots. Folk musical creativity cannot leave the listener indifferent, because it comes from the very depths of the cultural national heritage, having absorbed and developed all the most valuable things created over many centuries. Today, modern, classical and folk music is becoming available to almost every person, thanks to the media. It is wonderful that we have access to the musical culture not only of our own but also of other peoples, thus enriching our creative experience and cultural life. Music has always been and remains a part and perhaps the most necessary part of our life.
References / Список литературы
1. Dijk Rijk van, Bruijn Mirjam, Cardoso Butter Inge. Introduction: Ideologies of Youth. Africa Development, Vol. XXXVI, Nos 3 & 4, 2011. Pp. 1- 17© Council for the Development of Social Science Research in Africa, 2011(ISSN 0850-3907)
2. Bondarevskaya E. V. Education as a revival of a citizen, a person of culture and morality. (Basic provisions of the concept of education in changing social conditions). Rostov/D., 1995.
3. Bodina E.A. The role of music in the formation of a socially defined type of personality art pedagogy electronic scientific journal of the institution of the Russian Academy of Education "Institute of Art Education". № 3, 2012.
