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The peculiarity of modern music is that it does not have the basis of a whole method. The creator cannot build the principles of his method based on a method. Therefore, the descriptions of innovative writing in music, such as atonality, atheism, non-ambiguity, have been preserved for a very long time. As a result, there was no attempt to update the old system of musical language.
Modern harmony is such a complex and multifaceted phenomenon that it cannot be described in a single word or perspective. Because modern music culture is a period rich in news and change. In addition to the creation of many new compositional principles in modern music, as a result of changes in creative, stylistic, formal concepts began to appear fundamentally new interpretations of harmony, thematism, texture.
It should be noted that in recent years, dodecaphony, serial techniques and their collisions and connections with classical harmony have become so strong that as a result, they have moved beyond the realm of harmony and other systems that study them separately. Consequently, the importance of timbre-painting, dynamics, interval and rhythm reached a new level, and new writing forms and symbols were formed in the compositional technique.
In short, modern musical processes and the concept of music, which has not been sufficiently settled, have become more complex, leading to a high degree of hybridization of genres. As this process becomes more pronounced today, the distinction between different genres poses certain challenges not only to the listener but also to professional artists. The main goals and objectives of the new generation of composers have shifted to such and such requirements as the enrichment of new music, the processing of its means of expression, as well as the radical reform of harmonic painting, the system of genres. Indeed, while the individual style, research, and exploration of each composer prevents, on the one hand, a unified (general) conclusion about genres, on the other hand, they also create colorful genre appearances in music. They made effective use of almost all means of music individually and contributed to the creation of priceless masterpieces of musical culture, the emergence of a variety of new genres.
References / Список литературы
1. Kholopov N. Ocherki sovremennoy garmonii. L., 1975.
2. Kagoutek S. Vvedenie garmonii XX veka. M., 1985.
THE ART OF INSTRUMENTATION AS AN OBJECT OF SCIENTIFIC RESEARCH (HISTORY QUESTIONS) Erkayev N.I. Email: [email protected]
Erkayev Nurali Ikramjan o 'g 'li - Independent applicant (PhD), Head of Department, DEPARTMENT COMPOSING AND INSTRUMENTATION, UZBEK STATE CONSERVATORY, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the history of orchestration considered in the works of Uzbek composers of the 20th century. It also includes the history of playing musical instruments, the composer's instrumental and orchestral style. The classification of musical and orchestral terms and the history of their scientific study are given. The desire to study, research and apply the issues of instrumentation in the compositional work of Uzbekistan on the basis of past and present principles as a result of scientific research will serve the development of this art in the future. It is well known from the
experience of skilled teachers that there are integral stages, sequences, or specific forms of methodological foundations in the coverage of sources.
Keywords: composer, literature, creativity, instrumentation, orchestration, style, image, musical thinking, symphony, conductor, history, science, teacher.
ИСКУССТВО ИНСТРУМЕНТОВКИ КАК ОБЪЕКТ НАУЧНОГО ИССЛЕДОВАНИЯ (ВОПРОСЫ ИСТОРИИ) Эркаев Н.И.
Эркаев Нурали Икрамджан угли - самостоятельный соискатель (PhD), заведующий кафедрой, кафедра композиции и инструментовки, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: статья посвящена истории оркестровки, рассматриваемой в творчестве узбекских композиторов ХХ века. Она также включает в себя историю игры на музыкальных инструментах, инструментальный и оркестровый стили композитора. Приведена классификация музыкальных и оркестровых терминов и история их научного изучения.
Изучение, исследование и применение проблемы инструментария в композиционном творчестве Узбекистана на основе принципов научных исследований послужит развитию этого искусства в будущем. Из опыта квалифицированных учителей хорошо известно, что существуют целостные этапы, последовательности или конкретные формы методологической основы в охвате источников. Ключевые слова: композитор, литература, творчество, инструментарий, оркестровка, стиль, образ, музыкальное мышление, симфония, дирижер, история, наука, педагог.
UDС 078
The coverage of the subject should be carried out systematically in a step-by-step, organic sequence, from the simple appearance of past and present principles to the complex form. In the first steps, the task of embodying history and shaping it from a scientific point of view was put forward on the basis of the literature, pamphlets, scientific works on the instrumentation and orchestration created so far.
Particular attention was paid to the terms of composition and orchestration. It should be noted that these terms required the study and application of music as a separate science in the process of its further development.
Instrumentation - for a musical ensemble of different composition (ensemble, chamber orchestra, jazz band, symphony orchestra, wind orchestra, folk instruments orchestra) the division of instruments on the basis of the piano can be performed by a music literate musician using general concepts P. Tchaikovsky's "Children's Collection" for piano (any drum rehearsal for a group of stringed instruments, a group of wind instruments or an ensemble of different compositions);
Orchestration [1] (orchestration) - is formed in the creative process by the composer for the orchestral ensemble. The composer can orchestrate on a piano basis or form an orchestral score directly. Symphonic thinking, orchestral thinking plays an important role in this process.
The art of playing is inextricably linked with the art of composition, in which the services of composers who have mastered the art of playing and orchestrating are invaluable. Their experiences have always served as a program for young composers and have provided an integral part of the history of the art of playing.
"Instrumentation is a major field for conductors, musicologists and performers of folk instruments and serves as one of the foundations of the compositional profession" [2].
It is known that each art form had its own history, period of development and masterful masters. The history of instrumental art is built on the influence of the development of the art of composition, the formation of instruments, the study of musical acoustics from a scientific point of view, the development of the performing arts and the change of generations. It is the formation of the instruments that determines the periodic stages of the art of instrumentation, orchestration. Examples of this can be seen in the example of G. Berlioz, the author of the first scientific literature on instrumentation, in his pamphlet The Great Treatise on Modern Instrumentation and Orchestration.
Exactly the orchestration, the history of the art of playing, required a separate study of the stages of development. In the course of the study, the history of orchestration and orchestration in the book "History of Orchestration" by the English composer and musicologist Adam Kars describes the following: They began to pay attention to works based on the harmony of instruments, especially the opera, oratorio and ballet genres, which began to develop in form. The process of forming an orchestra is complex, and it took a lot of hard work for musicians to develop the skills to perform in a large number of compositions. In this case, the process of formation of instruments is relevant and most important.
The talented composers, who have done a lot of work on orchestration and instrumentation, knew perfectly the possibilities of performance of each musical instrument, means of musical expression and methods of performance. Therefore, the acquisition of basic knowledge of percussion allows you to work carefully on percussion. To date, most of the literature and teaching aids on instrumentation are related to the study of instruments or groups of instruments, their capabilities, timbre, texture and its types: "Fundamentals of Orchestration" by N. A. Rimsky-Korsakov, Symphony Orchestra by S.N. Vasilenko "History of Orchestration" by Adam Cars, "Orchestration" by Walter Piston, "Orchestration Rules" by Gabor Darvash, "Notography, Timbre and Texture in Modern Instrumentation" by Felex Yanov-Yanovsky, Petrovich Rakov's "Practical Course on Instrumentation", F. E. Vitachek's "Tasks on Instrumentation for Symphony Orchestra", A.M. Veprik's "Essays on Orchestral Styles", the history of the formation of instruments, their structure, performance possibilities, musical expression, orchestra lari, the range of information is mainly covered by the authors, and then there are samples, exercises, from the simple appearance of the instrument to the complex form. The structure of the literature, i.e., the sequence of data, has been linked to the study of instruments.
The above-mentioned authors have different approaches to instrumentation and orchestration, which, in terms of their scientific significance, serve as a program for young composers. Each of these literatures has its place in the history of the art of instrumentation, and its functions, specimens, and period of the author's life, the composer's style of creation, the instrumentation experience, and the possibility of exchanging information of his time. For example, N. Rimsky-Korsakov's "Fundamentals of Orchestration" contains examples of his author's works, while S. N. Vasilenko's textbook "Instrumentalization for Symphony Orchestra" includes A. Lyadov, P. Tchaikovsky, A. Arensky, M. Glinka, A. Skryabin, S. Vasilenko, N. Myaskovsky, A. Glazunov, N. Rimsky-Korsakov, S.Prokofev, D. Shostakovich, M. Balakirev used examples of creativity of such composers. The above-mentioned literature deals with the composition of symphony orchestras, which includes topics such as the history of instrumental music, symphonic orchestral instruments, instrumental styles, symphonic thinking, the melody of instruments, types of textures. Composers Kozlovsky and Yanov-Yanovsky conducted research on the history of music in Uzbekistan. It can be said that Kozlovsky worked directly as a conductor of a symphony orchestra, created many works for the orchestra, which laid the foundation for a wide range of musical work. Today, the instrumental style of Kozlovsky's works for symphony orchestra is recognized as unique and elegant, professionally performed. To confirm the above points can be confirmed by observing, studying the scores of the works he created for the symphony orchestra. During his creative years, the composer wrote a number of
scientific articles, memoirs and letters on the instrument. His creative legacy will be taught to future generations, young composer students on the basis of curricula at the conservatory. Consequently, there are many composers who continued to play in the style of A. Kozlovsky. A distinctive feature of the composer's research on instrumentation is that A. Kozlovsky paid attention to the expression of Uzbek folk instruments through a symphony orchestra and did a lot of work.
Another representative of the School of Composers of Uzbekistan, artist of Uzbekistan, Professor Yanov-Yanovsky created scientific and creative manuals "Notography, timbre and texture in modern playing" and "Exercises on playing" (symphony orchestra). . The difference between the authors of the scientific literature on instrumentation is that F. Yanov-Yanovsky tried to convey to future composers the intonation harmony, rhythmic features, timbre and texture of Uzbek music through the creative samples of Uzbek composers.
References / Список литературы
1. Instrumentation is the description of music performed by an orchestra or instrumental ensemble of a particular composition. Musical encyclopedia. Moscow, 1974.
2. Yanov-Yanovskiy F.M. Musical exercises (symphony orchestra). Educational-methodical manual for higher education institutions (in Uzbek and Russian languages). Tashkent, 2015.
