METHODOLOGY FOR DEVELOPING STRING INSTRUMENT PERFORMANCE

Аннотация

В статье дается подробная информация о методике развития исполнительского мастерства на струнных инструментах, видах струнных инструментов, а также видах инструментов, относящихся к оркестру узбекских народных инструментов. Ключевые слова: народные инструменты, процесс, композитор, произведение, музыка, оркестр, мелодия, напев, методика, опыт, раздел, традиция. Annotatsiya: Mazkur maqolada torli-kamonli cholg‘u ijrochiligini rivojlantirish metodikasi, o‘zbek xalq cholg‘ulari orkestri oiladosh cholg‘ular turlari torli-kamonli cholg‘u turlari haqida batafsil ma’lumot berilgan. Kalit so‘zlar: xalq cholg‘ular, jarayon, kompozitor, asar, musiqa, orkestr, ohang, kuy, metodika, tajriba, bo‘lim, an’ana. As we know today, the Uzbek folk instrument orchestra appeared in the first half of the 20th century and went through a process of formation, development, and improvement that lasted several decades. Thanks to independence, the opportunity arose to realize our identity and adequately appreciate the work of enlightened scientists.[1] Many instruments were introduced as experiments: the enlarged versions of our current gijjak - gijjak-bass, gijjak-contrabass, our traditional ancient instrument, which had no way of being tempered - the surnay (but the name was preserved in the score), without undergoing practice, spontaneously left the main composition of our musical artistic groups formed at that time. However, our traditional surnay was included in the score as an episodic instrument (like the karnay, sibizga, changqobuz), and may continue to be included in special, folklore-related parts of the works. Instead of the listed instruments - gijjak-qobuz bass, gijjak-qobuz double bass were newly created and put into practice, instead of the trumpet, a European instrument - oboe, or instead of it, conductors include bayan-accordion (due to their close timbre 54 DEVELOPMENT AND INNOVATIONS IN SCIENCE International scientific-online conference registers) and the like in the Uzbek folk instrument orchestra.[2] The Uzbek folk instrument orchestra consists of 5 groups of related instruments, and in the score they are arranged from top to bottom in the following order: 1. Wind instruments group; 2. Stringed-percussion instruments (changlar) group; 3. Stringed-chertma (mizrobli) instruments group; 4. Percussion percussion instruments group; 5. Stringed-bow instruments group. The wind instruments include the piccolo, the large flute, the trumpet, and the koshnay. The string percussion instruments include the chan. The string- chord (mizrobli) group includes the rubab prima, the qashqar rubab, the afghan rubab, the tanbur, the qanun, the double bass, the dutor, and the dutor bass instruments. The percussion instruments include the doyra, the nagora, the buben, the trikhop, the litavra, the xylophone, the kayraktash, and the tarelka. The string-bowed group includes the gijjak (I-II), gijjak alto, gijjak qobuz bass, and gijjak qobuz double bass. In order to improve musical performance skills, talent is required from the student, first of all. That is why special attention is paid to the natural inclinations to music, innate talents, and similar aspects of future musicians who attend the lower levels of musical educational institutions (music schools, vocational colleges, specialized academic lyceums, etc.). This talent is improved in the process of mastering performance practices and acquiring knowledge. Also, in this complex process, the student’s memory, rhythm perception skills, inner hearing, and artistic taste are formed.[3] In particular, in gijjak performance, the above-mentioned educational processes develop with their own complexity. There are several aspects in this, the manifestation of which at a high level depends equally on both teachers and students.These are: Creating pure sounds on the gijjak instrument; Mastering the national direction of performance; To be able to use unique performance decorations during the performance of musical works; To have a strong musical memory; To master the characteristics inherent in different layers of creativity: folklore, classical music, compositional creativity, pop music and other areas, and to approach them separately when performing the works related to them and reflect them during the performance; 55 DEVELOPMENT AND INNOVATIONS IN SCIENCE International scientific-online conference To be able to interpret each work in a unique way, while preserving the essence of the work, etc. So, the above-listed aspects are required of future specialists studying gijjak performance. Of course, there are many other aspects that need to be mastered in addition to these requirements. We will dwell on them one by one. Creating pure sounds on the gijjak instrument. The primary aspect that should be paid attention to is creating pure sounds on the gijjak instrument. Because all achievements in the specialty are built on this. The student must pay special attention to this from the first days of th