Навыки учителя в развитии проводительских способностей у студентов

Аннотация

Ключевые слова: В данной статье рассмотрены особенности музыка, дирижерского мастерства, методика обучения студентов культура, искусству дирижирования, установка дирижерского ситуация, аппарата, положение тела, головы, положения ног, дирижер, педагог, положение рук, свобода рук, о такие случаи, как правая руки, рука, левая рука, дирижерский жезл подробно описаны. исполнение, мастерство, оркестр, автор, искусство, дирижерская техника. More and more young people want to study in music schools. There are also many people who are involved in conducting, which has become a very complex and multifaceted art today. The proliferation of folk and wind orchestras has increased the need for skilled conductors. Nowadays, music performance has increased, and scores created by modern authors have become more complex. All this requires the conductor to be able to work with the work in a short time with high labor efficiency. Therefore, the skill of the conductor is very important here. However, there are certain difficulties in training a conductor, one of which is that the future conductor will not be able to communicate with the orchestra, which is his main “instrument”. Instead of an orchestra, they use a piano, but the way it sounds is completely different. Because of the wide and varied possibilities of performance in an orchestra, it is more complex than any musical instrument. The main difficulty is that the orchestra employs people with different skills and talents, and each of them has its own character, passion and other mental and emotional characteristics. Conducting is therefore a more complex job than other executive specialties. This research work is intended for conductors of amateur orchestras, high school students of special music schools and lyceums, students of cultural institutes and conservatories, to give them a better understanding of the nature of conducting techniques, its role in the overall management of the orchestra aimed at helping him acquire the knowledge and skills he would later need to work independently with the orchestra. A good conductor should have many qualities such as talent, knowledge, willpower, hearing ability and experience. However, if the conductor is unable to use these qualities to serve the orchestra, he will not be able to achieve his goal if he does not convey to the orchestra the tempo, dynamics of the work and the specific way in which he interprets it. From the middle of the tenth century, contemporary music became much more complex and showed the importance of having high conducting techniques in conducting an orchestra. So what is conducting technique? Until recently, it was believed that one should not be trained as a conductor, but should be born a conductor, a quality that is a gift of nature. Also, not everyone always understands what “conducting technique” is. There are different ideas about this concept. Some musicians view the 526 Жамият ва инновациялар – Общество и инновации – Society and innovations Special Issue – 02 (2022) / ISSN 2181-1415 conducting technique as a means of expressing the musical image and the essence of a work through hand gestures. This idea was supported by S. Kazachkov, A. Ivanov-Radkevich, I. Musin. In particular, I. Musin wrote: “Hand gestures have become a peculiar language, replacing the speech of the conductor. With its help, the conductor talks to the orchestra and the audience about the content of the music”. Some people understand the technique of conducting as a way of conducting a choir or orchestra performing a piece of music (M.I. Kanerstein, I. Razumniy) [1]. Others understand the concept of conducting technique as the management of a choir or orchestra performing a piece of music (V. Rajnikov, J. Debelaya). Conducting technique is primarily the interpretation of the music performed by the conductor using the movements of his hands [2]. Install the conductor. As a conductor’s apparatus, it is possible to take the whole body, for the effective functioning of this apparatus it is necessary to have a correct position with respect to the body part, head, arms, shoulders and legs. All parts of the conducting apparatus are interconnected and to some extent complement each other. Body. When conducting, the body should be upright, calm, and at the same time ready to move, the chest should be slightly raised, and the shoulders should be straight. Do not lift the shoulders too much – this will cause the lumbar muscles to become immobile, the elbows to “branch” in both directions, and the whole body to become uncomfortable. Excessive bending and bending is also wrong. In this case, the actions remain sluggish and unreliable. Excessive body mobility, frequent twists, bends, and other excesses during performance appear to be haste and usually indicate that the conductor’s technical skills are not good. In general, the whole appearance of the conductor should be based on aesthetics: the body is in a natural position, the chest is str