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0THEORETICAL BASIS OF DEVELOPMENT OF ARTISTIC CREATIVE SKILLS OF FUTURE MUSIC TEACHERS
Saddinov A.A.
Urganch State University, scientific researcher https://doi.org/10.5281/zenodo.13926351
Abstract. In this article, the theoretical basis of the development of the artistic creation of future music teachers, the artistic creation and its essence, and the scientific basis for conducting scientific research are presented.
Keywords: creativity, artistic, music, teacher, training, education, undergraduate, art.
The methodical practice of developing artistic creative abilities of future music teachers is seen as active actions based on experiences, and therefore it is necessary for future music teachers to know and understand the problems of music, music education and art in the development of students' creative abilities. It will be necessary to determine the adaptation of the students of the bachelor's course of music education to the educational process, their mental state, aspirations and actions in the general trends of the time. In such a process, music education and art penetrate not only the passionate emotional aspects of students' lives, but also the currents of real life, which must receive great strength in order to feel comfortable, see and thrive in it.
Such objectivity of development of artistic creative abilities of future music teachers is undoubtedly a step forward in the field of determining the nature and essence of music art, which is due to its reliance on the principles of historicity and dialectics, which is as much as possible created the conditions to act in an active-idealistic style.
At this point, when western scholars compare the positions of Kant and Hegel on artistic creation, it should be noted that Kant separates the essence of creative talent and artistic thinking from any other forms of mental activity, and thereby separates them from creativity. brings it closer to practice as its natural basis. Hegel, on the contrary, introduces creative abilities, artistic thinking into the system of forms of consciousness, because he considers the starting point of thinking to be the summation of many empirical connections of future music teachers with reality, their interaction with the world.
But it should be remembered that in objective idealism Hegel understood reality not as the real world itself, but as the mysterious inner foundations (absolute spirit) that give the meaning of real life to the life around future teachers. According to Hegel, objective reality is reflected in the activity of consciousness through artistic creativity, on the contrary, absolute consciousness (absolute idea, spirit) manifests itself in the forms of reality. In this reverse logic of objective idealism, it allows for the consistent implementation of the principle of creativity in determining the essence of creative talent and artistic thinking for each growing young generation. Of course, if we look at Hegel's teaching, he separates the subjective from the objective, gives an objective meaning to subjectivity, and defines pain as a mental phenomenon, not a physical one, which shows that he is a high thinker. At this point, Kant's ideas on the issue of artistic creation are distinguished by their own aspects. In particular, he puts forward his subjective-idealistic understanding of events while stopping at the issue of creativity, and abandons the "materialist" version.
Schopenhauer, in his theory of explaining the origin and meaning of art, supports Plato's doctrine of eternal and unchanging ideas. This supports the formation of a whole intermediate world in his system of ideas, a kind of mediating nation between the world of essence and phenomena [5].
One of the local scientists, T. Makhmudov, also expressed a number of ideas about art, the subject of artistic creation, art and works of art, which show a clear image of him. For example, in his opinion, "Art is the creation of a genius that is the result of wisdom. The wise man not only demonstrates his creativity created by means of his high skill, but also understanding his idea is the only source of it. Realizing the artistic creation he created and conveying it is a high art. "Actually, understanding the work created by the artist is his only goal." Another local scholar, U. Karaboev, expressed his opinion about art and said that "the idea in a work of art cannot be expressed through individualized objects, but art is able to express general worldviews with its power." Such views of scientists can be a clear example of poetry, music and other types of musical art. The nature of future music teachers, their mental-artistic-creative activity, the content of their internal and external experiences in the development of artistic creative abilities of undergraduate students of music education. and introduces the intermediate space between the universe [6].
Future music teachers are creators of musical works of art as artists. They, like their consumers, strive to melt in art. As a result of the discovery of such artistic creativity, future music teachers can understand that it is a "skill" that they can forget their "I", lose themselves and immerse themselves in their creativity [2].
It is necessary to accept any ideas of creativity in the development of artistic creativity skills of future music teachers as a necessary attribute of the talent of pure thinking. "...The essence of a creative genius lies in the superiority of this kind of thinking ability, because it requires a person to completely forget about other relationships. So, creative genius is nothing but the ability to get lost in the contemplation of the most perfect impartiality, objectivity, eternal ideas. Ancient poets and composers, music performers are freed from the demands of everyday needs and egoistic thoughts before the future music teachers, because in their creative high achievements they express the interaction of mystical ideas with the Divine Will. they are ready to ride. Among the types of musical art, the difference between the creator of ideas by means of melodies - the composer and the performer of this work, the musician-singer, and the listener - the consumer, may not be noticeable. Because the example of the work created as a result of artistic creativity affects everyone equally.
From the point of view of objective idealism, another German philosopher F.V. Schelling created his aesthetic system. According to him, the development of both nature and consciousness is based on the same spiritual force - the "Absolute", understood as an unconscious, irrational beginning capable of self-development through contradictions. Nature and mind, object and subject are compatible with each other in an absolute that represents identity. Schelling allocated a special place to art, because in art the reality of existence is fully perceived, the original harmony between the objective and the subjective is realized. A work of art is a product of genius, the creative activity of a composer is free and at the same time forced, conscious and unconscious, calculated and impulsive.
Just as destiny is the name given to the force that unknowingly and even causes us to accomplish unintended ends in our free behavior, so we call genius the elusive thing that gives objectivity to the unconscious [4] . Based on the goals of the research work, we call the power that
makes us do actions that we do not know, even contrary to our wishes, as destiny, so we call the objectivity realized without the cooperation of freedom, or even against freedom, that which is impossible to understand, genius. According to Schelling, composers play instruments, read musical notation, create melodies from sounds without thinking, only by intuition, inspired by inner feeling, satisfying the inevitable needs of their nature. Schelling, like Kant, tries to emphasize the polysemy of the artistic image, but he says that in his interpretation, polysemy is incomprehensible, a single composite environment appears.
A true work of art, each of them, as if the author has an infinite number of ideas and gives an infinite number of interpretations, whether this infinity was imposed by the composer himself or the essence of the poem even in the creation of the work. It is possible that it was discovered by the unprecedented creativity of the composer.
The results of the research conducted by us show that art is a holistic phenomenon, and that all types and genres of art are closely related to each other, because they perceive the event from absolutely different angles and they show with their means.
When thinking about the problem under consideration, we relied more on the researches of the CIS scientists V.S. Solovyov and M.M. Bakhtin. Because these scientists are scientists who made a great contribution from the point of view of the topic. Regarding the issue of artistic creativity of the future music teacher, V.S. Solovyov's thoughts have not lost their importance. He took the idea of the connection between artistic reflection and gave it secondary importance. According to Solovyov, the fruit of love between an idea and matter is beauty, which is a "holy body", matter fully irradiated with an idea and spread throughout the universe. Beauty in its positive aspect is the goal of the world, the state to which the world should aspire, as a symbol of truth and goodness.
Methodical training in the development of artistic creative abilities of future music teachers is manifested in the form of a finished perfect work of a composer. Art calls to realize the incredible perfection, to serve as a means of artistic creativity expressing the beauty of the world order, its truth. The world is incomplete for artistic creation, because natural beauty alone cannot overcome weight. Therefore, the main goal of the task of changing the world with spiritual power "is not to repeat, but to continue the creative work started by nature, which is entrusted to the conscious person, who is the sole creator [2].
In the methodical development of artistic creative abilities of future music teachers, it is appropriate to explain such great theoretical ideas as "turning physical life into spiritual life" and "creating the spiritual organism of existence" as the highest task of music art. Indeed, there is no unchanged matter in existence. K. Panjiev, one of the local scientists, said that "perfect art should change our real life, and it should absorb the traditions of the past, which will educate the next generation in the spirit of the national spirit. necessary" he says. Indeed, in this regard, the example of a composer-creator's artistic creation is a divine act, and future music teachers have the ability to continue the divine work for the betterment of the world.
"...Creativity is a process with two closely related goals, general and special. General - the embodiment of the true idea, that is, light and life, in various forms of natural beauty; the main goal is to develop the artistic creativity of future music teachers, that is, a form that expresses the highest inner power of light and life along with physical beauty, which means self-awareness [2].
Today, M.M. Bakhtin's aesthetic views are becoming more and more important in the methodical development of artistic creative abilities of future music teachers. The scientist
believed that it is necessary to take into account the spiritual, moral and aesthetic connection in the process of creation of an artistic work. The composer first takes a spiritual-ethical, pedagogical, social, professional attitude, and only then offers an artistic-ethical attitude. Before taking a purely aesthetic position in relation to the hero and his world, the author must take a purely life position. The context of the hero is spiritual and moral, and the context of the author is artistic and moral. A work of fiction ensures that the author has an "external presence" for the story to happen. The "outside" position allows to "finish" the story, because it helps the author to transfer himself to another language, to be involved in other people's lives, which is very difficult to do in ordinary life, but it is indispensable in artistic creation. According to Bakhtin, the author's "outside view" of the hero is a prerequisite for creating an artistic world.
The feedback we offer during the research is a two-way dialogic communication. But they are not monologues of different, often contradictory styles that replace each other. Dialogue is communication with the "memory" of the genre, with the hero (actual and potential), with non-fictional reality, with the direction of value of the characters, including "hidden" dialogic, multilingual words in the special logosphere and silent is a dialogue.
In general, the problem of artistic creativity in developing the abilities of future music teachers, its nature and essence, as can be seen from the above review, has a long and interesting history. At the end of the 19th century and the beginning of the 20th century, attempts to explain the nature and essence of artistic and creative abilities were mainly described by Plato and Aristotle in a general sense and developed in the works of F. Schelling, I. Kant, Hegel, A. Schopenhauer and others [1].
But on our part, the main focus on the issue of artistic creation, which is related to the development of the abilities of future music teachers, is the artistic view of life and the unique aspects of the creative process in general, the rational-logical layer of consciousness, their aimed at explaining the emotional-emotional forms of reflection in its originality. Then scientific thoughts went in the direction of development, modification and improvement of the above ideas. At the same time, some special issues - general and various issues in artistic and scientific creation - were raised. What are the common components of artistic and scientific creativity, what are their differences, what determines the specific characteristics of musical and performance activities? It is appropriate to answer such questions. Yes, of course, there are common factors between scientific and artistic creativity: both a scientist and a composer work on things that interest them; both have moments of inspiration and momentary culmination of creativity; creative imagination is necessary in science and art, with the help of which it is necessary to be "separated" from real life and logic, intuition is of great importance in both fields.
When considering the differences between artistic and scientific creativity in the process of developing the artistic creativity of future music teachers, its subjective nature means that a musical composition that is not completed by one creator cannot be completed by another creator. And science is based on objective necessity, facts, it follows the unchanging logic of development, it leads to the opening of one or another discovery by one scientist or another. Science is objective and its progressive movement is natural and inevitable. Future music teachers are the driving force of creators of science. Art, on the contrary, is focused on the present, it confirms the superiority of the individual. Without a detailed analysis of all the differences between scientific and artistic creativity, it is difficult to say something important. Science and art are different forms and methods of mastering the world [6]. Both areas of creative activity have many things in common,
but there are many points to the fact that there are also differences. In short, they can all be taken to three main positions.
First, if the emotional reaction to an event or event is of great importance to the composer, he consciously tries to reduce the level of emotional reactions in order to achieve an objective result;
secondly, for a composer, an individual approach to the subject under consideration is necessary and he consciously strives for it, and for a scientist analyzing the subject of artistic creation, the elimination of individual attitude is the main condition of his work;
thirdly, in the work of the "scientist" the desire to evaluate the objectivity of events should be clearly expressed, and the subject of artistic creation is considered artistic creation only when the personal, subjective attitude of the author has its uniqueness. These are general, fundamental differences between science and art. However, art itself is not a syncretic, inseparable type of activity of future music teachers, because there are different types within it. In order to determine the specific characteristics of musical performance as a type of creativity, the problems of the development of artistic and creative abilities are solved as an example.
The methodical development of artistic creative abilities of future music teachers has long been a firm rule that unites the environment as a common source and object of artistic and creative reflection of art forms with each other. 'installed. Artistic creativity submits reality to the general laws of representation in artistic images, which are the same for all types of art. However, each art form has its own style of reflection depending on the means of artistic expression used.
In the process of dissertation research, we considered several classifications of art types. One of them is divided according to its principles of comprehensibility, inventiveness and meaningfulness (A.N. Sokhor);
the second is the physiological characteristics of perception: they are divided according to the ability to hear sound, visual, sound in the field (E.G. Gurenko), they distinguish between "static" (or motionless) and "dynamic" arts. In the field of "static" art (composition, instrumental (by types) - singing (by types)) the goal of the composer's activity is to create a unique, unique and unique work with clear immobility[4] .
The activity of the composer has a creative (effective) character, he has the necessary creative abilities, and the results of his activity are characterized by the presence of a certain novelty, independence, uniqueness, unique individual attitude [3]. In order to make the unique and unique result of the teacher's activity into the property of a wide range of people, it is necessary to reproduce it, create a copy. The original (original) and copy (reproduction) of the work are the main forms of artistic values in the field of art. A copy is considered to be as close as possible to the original, which actually belongs to the composer.
"Copier" - the less the performer adds to the composer's idea during the performance, the better. Because, therefore, the activity of the copyist-performer is reproductive, he repeats the result achieved by the author as accurately as possible, there are no independent features, and the personal attitude of the copyist is reduced to a minimum.
The activity of the composer is primary because he aims to create a work of art; effective and its result original, original. Because he completely relies on his own strength and does not need the help of another person. In this case, the performer of the work created by the composer does not fall to the second level in his work. He shows the result obtained by the composer in public, performs it at a high level and realizes the composer's idea, it is reproductive, because its
result is reproduction; it is not independent, because it almost repeats the creative beginning of the composer, and it does not create artistic value, but it performs the composer's idea with high skill, and like the composer himself, he enjoys achievements and applause. For these reasons, the copyist's activity can be called artistic (because it must be preceded by the artistic creation of another person), but he also expresses the composer's idea through his artistic creation. For this reason, in the art of music, the performer creates artistic works as well as the composer.
In the dynamic art of music (dramaturgy, music, choreography, composition) there are usually no originals or copies. The work of the author and performer is relatively independent, because they cannot exist without each other, and only their cooperation can give rise to full-fledged art. The result of the creative activity of a composer or dramatist is not the finished form of an artistic work, but some basics of an image that appeared in the mind of the author [3].
A piece of music, which exists in the form of notes, comes to life every time in the performance of a performer, the performer includes his own views and personality traits in his interpretation. The "Dynamic" work of art appears to the audience as something new, each time a little differently. The reason for this is that the artistic idea is very versatile and multi-layered. The performing composer goes through the past paths, feels his thoughts and feelings, introduces his own feelings and views, thereby enriching the artistic structure of the work. Depending on his level of professionalism, level of consciousness, predominance of emotional or intellectual primitiveness, the performer receives and understands professional information located in different depths of the work. Art has the task of conveying the author's thoughts to the listener in an unchanged form, without allowing the performer to add his own idea.
Since any work of art is infinitely dynamic, it does not have an original in the sense of the word applied to "static" works of art. And in this sense, "dynamic" signs are not unique in that they are reproduced many times in works of art. Thus, we consider it appropriate to explain artistic creativity by dividing it into the following types of activity:
primary independent activity: it is the activity of creating a unique, original, independent work of art that is created by the author in the beginning, continuation, and end, and does not require the activity of another person;
the primary relatively independent activity is that the process of artistic creation is not limited only to the author, but also includes the creative activity of another person (performer);
the secondary relatively independent activity is the unique artistic activity that takes place in the "performer" system and is all existing types of performing arts;
secondary non-independent activity, although it is artistic, it is devoid of effective, creative character. So musical performance is a relatively independent artistic and creative activity of the second level. Labeling it as secondary in no way diminishes its importance, nor does it make its results less valuable or less creative. In most cases, performing in front of an audience is a direct, live creative activity performed in front of an audience. And it is possible to create real masterpieces of the musical performance of the most talented musicians K.Otaniyozov, B.Zokirov, Turgun Alimatov, Sultanali Rakhmatov and others. In the activities of performers at this level, both the creative process itself and its result merge into one. The emotional pressure resulting from the creative process can be so great that the listeners are also involved in the creative activity, so that a kind of connection between the performer and the listeners appears, which makes it possible to assess the level of understanding of the material being performed.
The more famous and talented the personality of the performer, the stronger the creative effect of musical art on listeners. The interpretation of the performed compositions depends on the idea, talent, and artistic creativity of the composer in creating a piece of music. appears intensely. In fact, it is impossible to successfully engage in the art of music without a creative, effective approach, without artistic and creative abilities. Otherwise, such activity, although it is carried out in the musical (therefore artistic) field, does not have a creative basis as a reproductive activity [1].
According to the system of classification of the processes of development of artistic and creative abilities of future music teachers, all arts are divided into part-time, part-time and parttime types. Contemporary art includes music, musical instruments, singing, speech art (oral and written); painting, graphics, sculpture, art photography, architecture, applied art, design to field art; performance art includes dance, performing arts, cinema, art television. Without delving into this problem, only the interrelationship, relations between the artistic mediators who express art within the framework of this classification - actor, music (instrumentalist, singer) performer and author (composer, dramatist) and his "recipients" it is enough to emphasize how important they are and that all of them should be organized in the process of artistic creation.
Taking into account the genesis of the problem of developing the artistic and creative abilities of future music teachers, it is not a problem to correctly notice the uniqueness of the talent of future music teachers in the field of art in the field of pedagogy. Unable to explain the origin of the artistic and creative talent given to the future music teachers with real factors, they associated it with a highly sensitive source of creativity, a "madness" to know the secrets of their own profession. . Thus, in the minds of many people, an idealistic tendency appeared when considering a problem that is not yet fully understood [2].
In the conditions of today's pedagogical education, the main differences between scientific and artistic creativity can be considered as different forms and methods of understanding the world, but for a future music teacher, an emotional attitude to the issues of world education and upbringing is very important. important, conscious attention is paid to the individual view, because the pedagogical aspects of the development of artistic and creative abilities of future music teachers are personal, subjective attitude, his efforts make the work truly artistic, the future for the teacher, it is necessary to have a low level of emotional reactions, and not an individual attitude, but the superiority of an objective generalized assessment of events or phenomena of reality.
Musical performance belongs to the "dynamic" types of art, and although it is defined as a relatively independent artistic activity of the secondary level related to the activity of the composer, the need for a personal, subjective attitude of the performer makes this activity truly artistic. is creative.
From the point of view of the pedagogical aspects of the development of artistic and creative abilities of future music teachers, artistic performance includes almost all the components necessary to define artistic activity as creative in nature and inner essence; all its attributes and pedagogical foundations testify to this.
The result of this activity is the creation and performance of new musical texts, musical ideas in a new interpretation.
The success of music-theoretical lessons is directly related to the expression of the future music teacher's artistic and creative abilities, without which it is impossible to achieve any significant results in the field of musical art.
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