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SOUNDS, PLAYED ON MUSICAL INSTRUMENTS Riksiev J.R.
Riksiev Jamshid Rakhmatullaevich - Lecturer, DEPARTMENT OF PERCUSSION INSTRUMENTS, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article describes the development of Uzbek music after gaining independence, the reforms in the new Uzbekistan, the formation of a repertoire of percussion instruments suitable for teaching in higher and secondary educational institutions, an analysis of the work of the composer Mustafa Bafoev, one of the founders of the Uzbek school of composition, "Samoi sado " teaching the spirit and increasing professional knowledge and skills aimed at finding effective ways to rise to the level of a professional performer, identifying achievements and shortcomings and developing recommendations for their elimination.
Keywords: method, style, genre, dynamics, timbre, orchestra, symphony, concerto, composer, composition, dramaturgy.
ЗВУКИ, ВОСПРОИЗВОДИМЫЕ НА МУЗЫКАЛЬНЫХ ИНСТРУМЕНТАХ
Риксиев Д.Р.
Риксиев Джамшид Рахматуллаевич - преподаватель, кафедра ударных инструментов, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: в данной статье описываются развитие узбекской музыки после обретения независимости, реформы в новом Узбекистане, формирование репертуара ударных инструментов, пригодных для обучения в высших и средних учебных заведениях, анализ творчества композитора Мустафо Бафоева, одного из основоположников узбекской школы композиции, «Самои садо» обучение духу и повышение профессиональных знаний и умений, направленных на поиск эффективных путей подъема на уровень профессионального исполнителя, определение достижений и недостатков и выработка рекомендаций по их устранению.
Ключевые слова: метод, стиль, жанр, динамика, тембр, оркестр, симфония, концерт, композитор, композиция, драматургия.
Independence opened a wide way to restore the cultural heritage of our people, strengthen the material foundations of culture, preserve and further develop the classic songs of our artistic people, and use the treasure of the priceless property of spirituality as a source of development of the nation and society.
Each nation ensures its uniqueness in the world culture with national performance art. The role of music is incomparable in raising young people to become a well-rounded generation.
Raising professional performers worldwide is one of the important tasks of the educational system. Building a bridge between the past and modern performance, determining the commonality of European and Eastern performance traditions on the example of the works of the creators of the Uzbek school of composers with ancient classical traditions, applying the methodological approaches formed in the national national music art of Uzbek does not lose its relevance in this regard.
Uzbek compositional creativity has come a long way from the stage of its formation to today. Striving to make full use of modern factors in music creation, the researches of today's composers are not losing harmony with time. Modern composer's work, which has gained great importance in world art, especially in the music of the 20th century, attracts attention with the creation of colorful musical technical methods and styles, genres and forms. Composer Mustafa Bafoev's work is distinguished by its scope and originality. It is no exaggeration to say that he is one of the creators who has been making a significant contribution to the art of Uzbek music. His compositions are performed not only on Uzbek stages, but also in the world's largest concert halls by skilled musicians. Currently, interest in Mustafa Bafoev's work as a classic of modern music is growing. In fact, the number of works dedicated to various aspects of the composer's art is increasing year by year.
Despite the positive dynamics, several works of Mustafa Bafoev for percussion instruments have been little studied in Uzbek musicology. The purpose of this article is to introduce the stylistic developments of the composer's works for percussionists.
Most of Mustafa Bafoev's manuals were created in harmony with solo and orchestral accompaniment. At the same time, all the collections are connected to each other, despite the fact that they were written for different instruments. No wonder: the technical requirements for musicians are the same. We talk about a certain position of the hands, methods of controlling the sticks and muscle strength, increasing mobility, independence and equal balance of both hands.
Mustafa Bafoev was born on November 10, 1946 in the village of Ganchkash, Kogon district of Bukhara. He is a composer and conductor by profession. Honored Artist of Uzbekistan (1995). He graduated from the Tashkent State Conservatory majoring in vocal performance (1969) and composition (1977). Teacher at Bukhara State Pedagogical Institute (1969-1979). Since 1979, D. at the Uzbek Television and Radio Company. He was the conductor of the Zakirov Uzbek folk instruments orchestra, and since 1986 he has been the chief conductor and artistic director [1, 407].
Mustafa Bafoev's work is characterized by a diversity of genres, subject (program) and vocal music, and artistic productivity. His musical style is distinguished by its melodiousness, creative approach to national traditions and modern trends. Mustafa Bafoev wrote 5 symphonies, symphonic poems, overtures and many other instrumental works, 3 concerts, 3 operas ("Umar Khayyam", "Bukharai Sharif" teleoperadoston, "Al-Farghani"), 4 ballets ("Nadira", He wrote music for the television ballets "Ulugbek Burji", the oratorio-ballet "Moziydan Nur", "The Great Silk Road"), "Samoi Sado", 7 musical dramas, many vocal symphonic works, more than 100 songs and romances, holiday shows, and a number of theater and radio plays. . He was the laureate of the State Prize of the Republic of Uzbekistan named after Abdulla Qadiri (1997).
Mustafa Bafoev's creativity is so extensive that music covers all genres. First of all, his style of performance attracts the attention of listeners from the point of view of interpretation, distinguished by high taste and artistic culture. In particular, this professionalism clearly demonstrates the ability to use many musical instruments in their place. From this point of view, if we look at the concert "Samoi Sado" written for the percussion ensemble, we can see that the composer is an extremely professional artist, along with his excellent knowledge of percussion instruments performance skills, technical capabilities, sound dynamics, timbre.
This work is based on unusual performance techniques and written for two performers. The concert "Samoi Sado" was created in the pattern style of minimalism. Consisting of a total of 33 patterns, this piece resonates in its own way, and in each part the instruments show their potential.
Fig. 1. Example 1. Excerpt from "Samoi Sado" by M.Bafoev
The first performance of this piece was performed in 2006 in the Great Hall of the Uzbekistan State Conservatory by Alibek Kabdurahmanov and Ulugbek Mahmudov, laureates of international competitions. The introduction to this work begins with philosophical, thought-provoking sounds. The composer chose very beautiful themes, and according to the compositional idea and dramaturgy, it is an original work with a special resonance. In its composition, it is possible to observe episodes such as the structure of separate parts and the exchange of patterns in their comparison. Each pattern has its own characteristics. Making the most of the instruments, skilfully giving them a special color, the chosen sound objects as a fabric to create an unusual system, defining the ties of different cultural and stylistic layers, which are opposite, or actually similar.
Despite the fact that the range of works used by Uzbek compositional creativity is wide, some of its examples have been used as experiments and have remained in the pages of history. Composer Mustafa Bafoev's work can literally be said to be a reflection of the results he has gathered and achieved in the modern Uzbek school of composition.
References / Список литературы 1. JabborovA. O'zbekiston bastakorlari va musiqashunoslari. Т., 2004.
