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development of the national liberation ideology.
Literature:
1. Bekhbudiy M. Khair ul-umuri aksatuho / Khurshid. 1906. 11 October. S.Azamkhuzhaev. Turkiston Mukhtoriati.Toshkent: Manaviata, 2000.
2. Bekhbudiy M. Khayilinur, berylmas / Khuryat. 1917. 13 July. UIuf Turkiston. 1917.12 June.
3. Agzamkhodjaev S. History of the Turkestan Autonomy (Turkiston Mukhtoriyahti). Agzamkhodjaev S.Istoriya of the Turkestan Autonomy. Khuzhaev U. Turley Urinlar / Sadoi Turkiston. 1915. 2 February.
4. Bazarbaev KK National-progressive movement: views of Jadids on statehood // Young Scientist. - 2011. - №3. T.2. - P. 71-74.
УДК 38.14.1
Karimdzhanova N. Tashkent State Pedagogical University Uzbekistan, Tashkent city SPIRITUAL AND MORAL UPBRINGING OF MUSIC
Annotation: In this article spiritual and moral upbringing by music is considered. The role of music in human life is discussed.
Keywords: spirituality, morality, music, education music
Life today poses new problems before musical education at school. Fundamental shifts in the system of value orientations are associated with economic crises. Ecological catastrophes, including excessive contamination by noise harmful to children's health, which destroys the children's psyche and much more - all this affects the spiritual development of schoolchildren and their mental health. This is the cause of spiritual degradation. There is a clear need for improving and updating the practice of spiritual and moral education of schoolchildren, in the search for new approaches to the educational activities of the school. Separate conceptual bases of the investigated problem are developed in the studies of domestic and foreign teachers, psychologists on issues of moral education.
One of the most important tasks of art education is the education of the child's soul by means of art, music in particular, the impact on the process of the formation of his moral qualities, moral ideals. You can find the basis for the spiritual development of children in music lessons. The main thing that a teacher who teaches music should do is to teach to watch and see, listen and hear, create a "related" attitude to works of art, and develop close attention. Music can not directly "transfer" morality into the human soul, it can only directly awaken the slumbering in it moral forces, arousing human emotions. Experiencing the content of music, a person becomes more responsive to various emotions-senses, and this training allows him to feel more thinly the pain of others, other people's problems. Art wants to be heard, it requires special attention, it needs a meeting: and it does not matter what "meeting", not "some", but artistic. Therefore, moral education in
the music lesson is to instill the ability to empathize with music and a stranger through music, develop the ability to experience other people's joys and sorrows, develop their attitude to life on the basis of universal spiritual values. The world carefully preserves eternal values: love, beauty, good, strength of spirit, truth, value of life. Music is the bearer of value, the object of knowledge, and the teacher and student are a collective subject, comprehending the world of musical and pedagogical values. I would like to say that in music lessons we often encounter childhood passivity, incompleteness, their inability to disclose their capabilities.
At the same time, the student must "look" into himself, compare his feelings and experiences with the experiences inherent in the musical work, to understand whether he can survive someone else's pain and suffering. In Russia, spiritual and moral education has traditionally contributed to the spiritual and moral formation of man on the basis of Orthodox culture in all forms of its manifestation (religious, ideological, scientific, artistic, everyday). This gave and gives the Russian people the possibility of a more complete and voluminous perception of the world, its place in it. A special role in the spiritual and moral upbringing of the child belongs to music. With this art children come into contact from birth, and purposeful musical education they receive in kindergarten - and later in school. After all, musical education is one of the means of forming the child's personality. To give knowledge, to develop skills and skills is not an end in itself, it is much more important to awaken children's interest in learning. The problem of spiritual and moral upbringing
The problem of spiritual and moral education of the younger generation is one of the complex and contradictory tasks of both ideological, political and scientific pedagogical content, on the solution of which the psychosocial and spiritual health of children depends. Who, as we, the people of art, find the coveted path to the souls of our children and open the world of Love and Goodness. This is necessary not only for them, but for us, teachers. After all, the teacher is, above all, a spiritual and moral mentor, a righteous man and a humanist - without these virtues we can not appeal to their consciousness, we do not have the moral right to do so. All programs on music (DB Kabalevsky, YB Aliev, TA Bejder, GP Sergeeva, etc.) in the general education school are focused on the comprehension, mainly, of classical music. These programs do not take into account that in everyday life a child at home and on the street hears other music, these are far from the best examples of pop music. TV programs also can not help but affect the younger generation. The overwhelming majority of children, despite the efforts of the school, grows up in isolation from the true masterpieces of music, does not remember a single musical composition of serious art that would be liked. Apparently, the system of spiritual and moral education is functionally incomplete: in the educational school there is no basic course of spiritual and moral culture in relation to the whole system of upbringing; the features of multicultural traditions are far from being fully utilized. We believe that it is the main task of the music teacher to show the beauty of music, the variety of musical works and images, to introduce them to musical creativity, to develop a spiritual
and moral feeling.
Hence the school is a sphere of the most active influence on the spiritual world of the child, which puts teachers in front of the need to systematically and purposefully deal with the issues of spiritual and moral development in any music lesson. However, the purposefulness of the formation of the spiritual world of the student's personality by means of music should not become a synonym for violence. Modern pedagogy and psychology assert that every personality is self-valuable and has its own individuality, uniqueness. Given the above, the school should form a personality not only as a carrier of a spiritual and moral culture, but also as an active transformer of it. Here at this moment comes the understanding of how important it is that we teach our children. Either they are modern songs that are performed under a phonogram, sometimes with no sense, or it is a cultural layer accumulated by our ancestors, music that has been tested by time. In music lessons, you can see how emotional and sensitive children are, how subtly they perceive music. The teacher's task is not to extinguish the spark of creativity, but to combine learning with natural interests for children and experiences-it is necessary to teach joys. Through joy the child must know the world around him. As it is sung in one children's song: "It is necessary to learn cheerfully to study well!" With joy he should go to the lesson. The profession of the teacher is special, connected with the complex, fragile world of the child. And the task of the music teacher is not to reduce the problems of musical upbringing and education to information, but to teach the means of art to think, feel, empathize, so that not only intellect, but also the soul develops among schoolchildren. The teacher should teach the students to orientate themselves in the world of music, to instill in them the taste and to attach to higher spiritual values, to teach them to learn the world and to shape the image of the world by means of art, in communicating with the art of music to understand themselves and their place in the world. Spiritual and moral concepts, which carry high art, must grow into everyday life and become personal for every schoolboy.
Today's schoolboy of a modern, rapidly changing world is quite different from what he was before. He is ahead of his predecessors in physical development, but, alas, lags behind in the spiritual and moral. In addition, the new conditions of modern life do not contribute to the spiritual health of children. New problems are facing massive musical education. Another screaming problem is related to early computerization: scientists state; that schoolchildren in the conditions of early computerization lose imaginative thinking and creative abilities. Hence, there is an acute need to make mass education creative, to emphasize the spiritual and moral principle in it and to focus on contemporary problems of human survival. How to help children avoid these and other self-destruction networks that suck people physically and spiritually? At all times, it preached high art. In the aspect of the above problems, the importance of the teacher of music as a teacher leading his students to life, good, truth, beauty is evident. Purposeful spiritual formation of the personality occurs in the junior classes of educational institutions. The earlier a child will have the opportunity to
get acquainted with classical and folk music, the more successful will be his overall spiritual and moral development. The song reveals to the child the beauty of the world.
Literature:
1. Абдуллин Э.Б., Николаева Е.В.Теория музыкального образования. Учеб.для студ.высш.пед.учеб.заведений. - М.Академия,2004.
2. Кашапова, Л. М. Региональные музыкальные традиции в формировании этноличности школьника [Текст] / Л. М. Кашапова // Искусство и образование. - 2005. - № 4 (36). - C. 84-92.
УДК 811
Karimova Sh. T.
Tashkent State Pedagogical University Uzbekistan, Tashkent city METHODS OF ORGANIZING REPETITION AT THE HIGHER STAGE OF TEACHING A FOREIGN LANGUAGE
Abstract: This article discusses ways to organize repetition at the higher level of teaching a foreign language
Keywords: memory, thinking, repetition, training, teacher-innovator, method, methodology
Repetition at the senior stage of learning foreign language. can be carried out through the organization of the content of teaching speech; when introduced into a topic / problem; in special training lexical exercises; during grammatical workouts, in language exercises, in which "different" phenomena "collide"; in generalizing supports; in exercises that prepare schoolchildren for independent statements; when working with texts; when performing "through" retrospective tasks, when you need to remember the texts read in advance, write down words, facts, arguments from them, compare, summarize, supplement information from these texts, compile questionnaires, quizzes based on them, etc .; during corrective and generalizing lessons.
Let's consider some of these techniques. The content for discussion can be combined into large blocks, including sub-themes / problems stemming from the general and related to those sub-themes / problems that have been worked out in previous years. The analysis of high-school students of interest, discussed by them and in their native language, makes it possible to single out four such blocks as the basic ones: leisure problems; education and professional activity; all about yourself and others around you; teenager's problems. Each block is studied for six months. The number of sub-topics / problems within it depends on the number of hours and the preparedness of the class.
When modeling specific situations, various combinations of these milestones are made, with respect to which the speech task is put. So, in the block "Problems of leisure" are allocated: How organized leisure in our school / our city? How can I spend my free time in Tashkent / London? How did our parents
