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Учебно-методическое обеспечение сольфеджио на материале современной музыки академического направления.
Современный курс сольфеджио представляет собой не четко зафиксированные программные объемы. Это объясняется тем, что скорость прохождения учебного материала диктуется не только большим количеством музыкальных образцов, но и уровнем усвояемости студентами, степенью их подготовки. Именно это дает возможность ускоренного прохождения курса, его упрощения или сокращения.
На современном этапе сольфеджио превращается в практическую часть психологии музыкального восприятия. Его суть в слуховой многоуровневой обработке информации, которая синтезирует эмоциональные впечатления с рациональным анализом и осознанием воспринимаемого услышанного в интонировании, нотной записи и мыслительном представлении.
Развитие метро-ритма и музыкального слуха на музыкальных примерах стилистики XX и XXI веков становиться сегодня также весьма актуальным. Музыкальная практика ушла значительно вперед по сравнению с ее осмыслением в учебном процессе. Именно этот разрыв уже в 60-х годах выдвинул концепцию ладовой инерции в слуховом восприятии современной музыки (А.А. Островский). Стилевое сольфеджио М.В. Карасевой «Современное сольфеджио» в трех частях на материале современной академической музыки реализует идею стилевого развития слуха музыканта. Учебно-методическое обеспечение профессионального образования в этом направлении подкреплено и сборниками диктантов Н.Ф. Тифтикиди, включающими в себя фрагменты произведений С.С. Прокофьева и Д.Д. Шостаковича. Составление учебных пособий на материале современного композиторского творчества узбекских авторов ждет своего исполнения в будущем.
Современное стилевое сольфеджио находится в стадии становления, недостаточная изученность современных тенденций музыкального профессионального образования является определенным тормозом для создания учебного предметного материала. Не вызывает сомнения, что еще не полностью осознана и теоретическая база для такого методического обеспечения стилевого интонационного мышления специалистов в области музыки.
Список литературы / References
1. Агажанов А.П. Сольфеджио // Музыкальная энциклопедия: в 6 т. Т. 5. М.: Советская энциклопедия, 1981. С. 191-192.
2. АсафьевБ.В. Музыкальная форма как процесс. Кн. 1-2. Л.: Музгиз, 1963. 378 с.
3. Земцовский И.И. Апология слуха // Журнал Музыкальная академия, 2002. № 1. С. 1-12.
4. Людько М.Г. Стилевое сольфеджио в современном видении: дис. ... канд. искусствоведения / М.Г. Людько. СПб., 2011. 235 с.
5. Пивницкая О.В. Джазовое сольфеджио в системе современного музыкального образования // Вестник кафедры ЮНЕСКО «Музыкальное искусство и образование», 2016. № 4 (16). С. 95.
6. Урванцева О.А. Освоение стилевых моделей в курсе сольфеджио // Вестник кафедры ЮНЕСКО «Музыкальное искусство и образование», 2014. № 1 (5). С. 87-98.
SOME ASPECTS OF MUSICAL PERFORMANCE Mukhamedjanova Z.S. Email: Mukhamedjanova17157@scientifictext.ru
Mukhamedjanova Zakhro Satvaldievna - Associate Professor, DEPARTMENT CHAMBER MUSIC STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the study of the goals, objectives and characteristics of training is the most important condition for the correct definition of the content, principles and methods of teaching and educating students. One of the current forms of this work is to embody the characteristics of a young specialist. In the perfect image of the future specialist, the need of the society for such specialists is obvious, therefore, this image itself is a program for the organization and development of the educational process in higher education, the structure of vocational training of students.
Keywords: music, expert, process, education, performance, creativity, style.
НЕКОТОРЫЕ АСПЕКТЫ МУЗЫКАЛЬНОГО ИСПОЛНЕНИЯ
Мухамеджанова З.С.
Мухамеджанова Захро Сатвалдиевна — доцент, кафедра камерной музыки, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: изучение целей, задач и характеристик обучения является важнейшим условием правильного определения содержания, принципов и методов обучения и воспитания студентов. Одна из современных форм этой работы - воплощение качеств молодого специалиста. В идеальном образе будущего специалиста потребность общества в таких специалистах очевидна, следовательно, сам этот образ является программой организации и развития образовательного процесса в высшей школе, структурой профессиональной подготовки студентов. Ключевые слова: музыка, специалист, процесс, образование, исполнитель, творчество, стиль.
UDC 078
Every profession requires important qualities. Defining such qualities is the definition of specific goals for the formation of the personality of students.
The complex profession of a music teacher includes several music majors, but not just a combination of them.
It is impossible to imagine the image of a teacher in this field without analyzing and summarizing the existing practice of teacher training. This image is manifested as a specific system of requirements for the specialist, which allows to improve the program and ways of shaping the personality of the future music teacher.
The main purpose of music education in secondary schools is to educate students aesthetically, artistically and morally, to form a spiritual culture through the formation of musical culture in them. That is why music education is an important factor in the harmonious development of the younger generation. In particular, music is an artistic activity that involves a number of factors. It forms ideological beliefs, educates morally, determines the psychological purpose and direction of personal interests, creates, organizes and unites social mood, fosters social activism. Develops the ability to perceive, feel and understand art, develops aesthetic and musical taste, enhances mental maturity, creative activity, thinking, unique features in students, expands the scope of thought, the necessary musical knowledge, skills and builds skills, helps solve the problem of free time.
Children need to know the spiritual and form-forming features of musical language in order to understand music, to develop musical skills to a certain extent (volume, timbre, understanding of harmonic, dynamic features of music, sense of mood and rhythm, remembering music), music perception and performance skills need to have.
A music teacher's job is not limited to music lessons. His responsibilities include preparing and conducting music evenings and competitions, organizing cultural tours, and regularly informing students about music and theater news. These can be seen conditionally as follows:
1. Defining all parts of the educational process: organizational and meaningful work (selection of the content of educational work on music);
2. The teacher's interaction with students, interaction with the public in the educational process;
3. Organizational work on the implementation of the plan of the educational process;
4. Predicting the steady growth of each student and the improvement of the student body, setting and consistently implementing tasks for the general (and musical) development of boys and girls;
5. Work on the formation of a certain system of socially important values, needs, interests, tastes, reasons for activities and behaviors, worldviews and perceptions of the world in students;
6. Pedagogical activity requires the teacher to:
a) to study the dynamics of students' abilities, interest in music, musical knowledge, performance skills and abilities;
(b) to study teaching methods, to identify effective methods and conditions for their successful application;
c) study of methodological manuals and research (their critical evaluation);
(g) Analyze their own and other teachers' positive and negative experiences, generalize effective methods and forms of work, and apply them in their own practice;
d) conduct regular pedagogical observations and experiments.
In order for a music teacher to successfully master the necessary skills, pedagogical, artistic and musical skills must be combined.
A music teacher must love his or her subject, approach it with passion, love students, and know the specifics of teaching and educating through the means of the art of music. A teacher who loves his profession as well as his students will be a good teacher.
The special class teacher must first understand the tasks of general aesthetic education of students. These tasks should not be limited to teaching you how to play a good instrument. The most important thing is to teach the child to love music and to arouse his interest in music lessons, to create the need for musical activities with the help of instruments, as well as the opportunity to practice music for his own pleasure even after graduation. is to build the knowledge, skills, and competencies you provide.
Piano lessons have a great educational potential. Therefore, it is important to understand their pedagogical and educational responsibilities in an integrated and complementary way. Music education is not about educating a professional musician, but first and foremost an educated person.
Educational work with students should be done on a regular basis, without touching the stomach, but in a way that the student does not notice. The educator needs to know what the student is interested in, what he or she is reading and liking, his or her home environment, family relationships, and so on. In order to learn this, the conversations should start involuntarily and be interesting and convincing, and as a result of these conversations the student should understand that the teacher is really interested in what he is saying, not just as his duty.
Every educator needs special skills, without which it is impossible to carry out relevant pedagogical activities. And for a music teacher, musical skills are very important. This set of skills is much broader and more complex.
The peculiarity of musical performance activity is the presence of an artistic-visual component among its components, which is an independent category in the general structure of the activity of a music teacher.
For a music teacher, two types of creativity are important - oral interpretation and the performance of a piece of music on a musical instrument.
All of the individual classroom activities are based on the study of music in a variety of styles, genres, and shapes.
The teacher must teach the student to understand the features of the work, to understand the content and idea hidden in the work, to get into the essence of musical language, to master the methods and ways of work. It's all about nurturing the need to play music. To achieve this ultimate goal, the teacher must love music with all his heart and soul, and strive to pass on his passion and experience to others. But to do this, he must be sensitive enough and feel as if a new interpretation has emerged with the students each time he works on a work that has been studied several times in his class.
In order to explain and illustrate the works to the students through concrete examples, the teacher must first be well-informed.
When working on the works of republican composers, it is important to form an understanding of the national characteristics of the nature of the plays taught to students. The student should know that the traditions of folk art serve as a basis for almost all composers. For example, reliance on folk music, which is an example of high artistic wealth, expressing the thoughts and aspirations of the people, is the basis of the composers' work.
Today the composer needs to be in constant contact with many performers in the process of composing each new piece. Sometimes the composer must know exactly for whom (meaning a particular performer) his new work is intended. This is a very important and necessary moment for every composer. Knowing the capabilities of this performer, the composer makes it easier for himself the task of choosing one or another variant of sound production, applying new effects, which is very important today [1, 52].
One of the main tasks of a teacher is to instill in students a positive attitude to music lessons and a love of work. He must teach the student to understand the music and to interpret it correctly in his performance. It is important to be careful about the author's text, the editor's instructions, and the various characters. The student should not only strive for short-term creative ingenuity and achievement, but also strive to find ways to achieve creative success.
Much depends on the teacher's approach to each student. In order to be successful at work, he must know the student's personality, observe him constantly, as well as analyze his attitude to the young musician, his behavior during training.
There are definitely some positive and negative aspects to each student's behavior. The skill of the teacher is to know the good qualities of the student and to direct all the other qualities in him to these good qualities.
The study of the notation in this way was manifested in the student in the form of a symbol of one or another key on the piano, and this method of teaching seemed to the student to be devoid of any vitality.
One of the most common shortcomings of teaching methods is that some teachers focus more on the movement methods and the position of the hand than on the quality of the student's performance.
From the very first lessons, it is necessary to acquaint the child with art, to listen carefully to the musical speech, to understand its content and structure, to determine the quality of sound. The student's hearing should be based on art, as well as on material that is understandable and interesting to the child. For this purpose it is better to use folk melodies, children's and popular songs of composers. This musical material can be obtained from a variety of song collections for school and preschool.
References / Список литературы
1. Nazarov Khushnud Irkinovich. "Vzaimootnosheniya kompozitora i ispolnitelya" // Problemi sovremennoy nauki i obrazovaniya. № 1 (121), 2018.
КАМЕРНАЯ МУЗЫКА В ТВОРЧЕСТВЕ МОЛОДЫХ КОМПОЗИТОРОВ УЗБЕКИСТАНА (НА ПРИМЕРЕ ТРИО ДЛЯ СКРИПКИ, ВИОЛОНЧЕЛИ И ФОРТЕПИАНО КОМПОЗИТОРА НУРАЛИ ЭРКАЕВА) Мухамeджанова З.С. Email: Mukhamedjanova17157@scientifictext.ru
Мухамеджанова Захро Сатвалдиевна — доцент, кафедра камерной музыки, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: в данной статье в центре внимания находятся вопросы исполнения камерных произведений композиторов Узбекистана.
Камерно-инструментальная музыка в творчестве узбекских композиторов является сложным и самобытным направлением. С момента становления камерной музыки сформировались основные жанры и были созданы цельные художественные произведения.
Среди них представитель композиторской школы Узбекистана, молодой композитор - Нурали Эракаев и его Трио для скрипки, виолончели и фортепиано. Трио было написано в 2015 году и относится к творческому периоду студенчества.
Ключевые слова: камерная музыка, жанр трио, творчество композиторов, произведение, история.
CHAMBER MUSIC IN THE WORKS OF YOUNG COMPOSERS OF UZBEKISTAN (ON THE EXAMPLE OF THE TRIO FOR VIOLIN, CELLO AND PIANO COMPOSER NURALI ERKAEV) Mukhamedjanova Z.S.
Mukhamedjanova Zakhro Satvaldievna - Associate Professor, CHAMBER MUSIC DEPARTMENT, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article focuses on the performance of chamber works by Uzbek composers. Chamber instrumental music in the work of Uzbek composers is a complex and distinctive direction. Since the inception of chamber music, the main genres have been formed and complete pieces of art have been created.
Among them, a representative of the composing school of Uzbekistan, a young composer - Nurali Erakaev and his Trio for violin, cello and piano. The trio was written in 2015 and belongs to the creative student period.
Keywords: chamber music, genre of trio, creativity of composers, work, history.
УДК 078
Как известно, по истории музыки, камерно-инструментальная музыка считается древним и значимым жанром. Наряду с жанрами симфонической музыки, камерно-инструментальная музыка представлена широким кругом музыкальных тем и образов, начиная с простых, бытовых вплоть до сложных, философских.
Необходимо отметить, что благодаря, разновидностям партий в камерном ансамбле, расширяются возможности чувственно-эмоционального воплощения образов. Для ансамблей, в целом, характерно более глубокое и тонкое выражение музыкальных образов.
