Volume 03 Issue 02-2023
95
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
95-99
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
In this article, the role and importance of the professional performance of the piano instrument in the art of music, as
well as the pedagogical features of teaching this music to students and students, are discussed in detail. The
theoretical and practical aspects of lim in the early stages are highlighted.
KEYWORDS
Music, pedagogy, methodology, performance, educational system, modern educational technologies.
INTRODUCTION
Children who want to learn a musical instrument and
come to an educational institution or to clubs show
their interest and passion, learning to play a musical
instrument is not as easy as they think, participate in
training with real desire, will, patience, It is very
important to work with them in the early period of
education so that they don't get away from
educational tasks, tasks, and demands, and don't go
away from their "passions". In all types and directions
of musical art, this period is rightfully considered a very
responsible and complex stage. During this period, the
most important pedagogical task is to carefully treat
the love and interest in music in enthusiastic children,
to support their interests and aspirations. [1. p. 55]
THE MAIN RESULTS AND FINDINGS
Research Article
EXCLUSIVE FEATURES OF PROFESSIONAL PERFORMANCE OF PIANO IN
MUSIC EDUCATION
Submission Date:
February 18, 2023,
Accepted Date:
February 23, 2023,
Published Date:
February 28, 2023
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume03Issue02-18
Yulduzkhan Y. Gulliyeva
Doctoral Student, Tashkent State Pedagogical University Tashkent, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 02-2023
96
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
95-99
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Classes organized by a music pedagogue, the
teacher's communication with the student, his
attitude, learning the individual characteristics of the
student, acting without haste, stimulating the child's
interests and aspirations, selecting the tasks according
to the child's capabilities, and conducting the classes It
serves as the main ground for the development of
interesting organization, musical interest, ability
formation, musical perception and performance skills
in students. All the subsequent attitude of the child to
music will depend on how the initial period of
education is organized, whether he will fall in love with
music as a form of art or, on the contrary, quickly cool
down. The piano is a more complicated instrument to
learn compared to other instruments. -requires division
into counting, fingers, bars, sound quality, dynamics,
etc. At the initial stage of education, it is necessary to
take into account the level of musical hearing and
consider its formation as the main content of
education. Before teaching to play musical works, the
need to teach the student to listen to music carefully
and actively is emphasized in the art of piano teaching.
[4. p. 23]
The student first listens to the musical pieces he is
learning, performed by the teacher. It is very important
for him to understand the nature of music, to listen to
rhythm changes, to understand the expressiveness of
musical phrases. Then their attention to what the
teacher shows and their sensitivity to their own
performance will increase. Listening and analyzing
music leads to the development of inner hearing. In
this process, work with students is carried out in the
following directions: correct hand movements,
marking (postonovka), training, changes in sounds,
teaching to feel the sound, listening to and playing
tunes, You can move on to learning to play the piano
only after you have developed the skills of perceiving
and memorizing music. Work after a certain stage of
education, namely, work on studying and performing
musical works, should be carried out in connection
with the tasks of developing its active perception. It is
described
by
the
pedagogue-psychologist,
musicologist G. Neygauz as follows: "Before starting to
learn to play a musical instrument, the learner,
regardless of whether he is a young child or an adult,
learns a piece of music in an artistic and spiritual way.
he should learn it, that is, keep it in his mind and be able
to hear it with his own ears. The whole secret of the
manifestation of musical talent is that the music
sounds in the brain (imagination) before touching the
keyboard or the strings of the instrument for the first
time”.
For the same reason, the student should not rush to
play based on the notes. After the student has
developed a sufficient level of sound perception and
he/she can read the notes using the product of visual
perception-sound perception-movement impulses, it is
possible to read the musical notation and start playing.
Volume 03 Issue 02-2023
97
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
95-99
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In practice, it is common to learn how to play a musical
instrument by listening, which negatively affects the
quality of education. [6. p. 42]
It is correct to teach students to play with notes
through the teacher's verbal explanation and practical
demonstration. At the beginning, students simply
perceive the appearance of note symbols -
involuntarily and transfer them to such involuntary
actions on the keyboard. In this way, first of all, sight-
movement connections are formed and they are filled
with sound impressions during music playing. In this
case, the execution is performed without complete
understanding and perception. For this, it is necessary
to form a conscious attitude to the performed melody
in the student, to develop skills and methods of
movement. A student who starts learning the piano
instrument should first be educated to feel the sound,
image, and content of the piece. This need is formed
through the activation of musical auditory imagination.
According to experienced pedagogues, musical-
auditory imagination is not pure auditory imagination.
The connection between movement imagination and
musical-hearing imagination is the main aspect, and the
development of musical ability and perception should
start from this. The ability to imagine hearing music is
one of the main components of musical hearing. [5. p.
123]
Children can engage in creative activities after the level
of working with musical aesthetic auditory imagination
is somewhat developed. The pedagogue offers
children to repeat the melody by voice, to consciously
imagine it, and then to play on the piano, to perform
according to the note, and involves them in active
engagement and creative research activities. In this
place too, the imagination of musical hearing has a
special place. In order to perform the task of playing a
heard melody from memory, it is necessary to have a
vivid and clear imagination that relies on the
perception of a musical image.
In general, the formation of musical and creative
abilities is very important in playing a musical
instrument. Such activities of those who are learning to
play the piano should first of all be focused on the
formation of skills and methods of playing by listening,
copying sounds, and playing music correctly and
artistically. As we have already said, from the first days
of education, listening skills and movement
components should be interconnected, and the
activity and creativity of education is the same. The
most important aspect of playing the piano is the
freedom of movement, which is characterized by
precognition of the task and goal and striving to
achieve it, as well as pre-imagining the movement itself
while feeling the desired sound. A free action always
leads to a goal, because first some image, an idea, and
then a purposeful action is created. The freedom of
playing movements requires the pedagogue to
abandon the rule of "putting" (postanovka) the same
Volume 03 Issue 02-2023
98
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
95-99
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
hands for everyone from the very beginning of
teaching the piano, and first of all direct the student to
the instrument, to the keyboard as a sound-producing
mechanism. attention should be paid to nurturing
attitudes.
Therefore,
the
pedagogue
should
simultaneously develop the student's musical
imagination and explain to the student the most
general rules: how to sit next to the instrument, how
to raise and lower the hands, how the elbow should be
and the movements. [7. p. 97]
Different movements should be used when playing and
copying simple tunes with the student. Accordingly,
two components should be combined in the
organization of playing movements: Based on the
student's musical thinking and musical auditory
imagination, simple, expressive, flexible movements
should be trained. The character of sound images relies
on constantly emerging skills. So, how are the skills
themselves formed in this place? The most important
factor in this place depends on musical hearing and
self-control. It should not be forgotten that the
connection of musical auditory imaginations to
movement imaginations manifests itself in different
ways in each student. The student's natural talent,
general maturity, and pre-educational preparation play
an important role in this.
Music can develop auditory imagination and skills can
be developed through the act of playing. It is closer to
the truth that this development will be as follows:
1.
Hearing and imagining musical sounds and their
timbre characteristics.
2.
Forming the ability to play different sounds.
3.
The ability to play a few basic notes (sounds) of a
simple musical tone, a small melody.
4.
Perception of the text of the musical score and
organization of the content of the chitka activity.
CONCLUSION
It is known that the goal of any musical performance,
the main task of educating pupils and students in an
educational institution is to study and work on various
musical works. In this process, the students
communicate closely with music, they feel it, they are
able to enter into it by imagining musical images, they
acquire the skills and competences of conscious and
literate work on the text (musical text), work on the
difficulties of technical performance and they learn
their easy ways, and gradually they develop the
knowledge, skills and abilities of a musical instrument.
In this process, along with the students' theoretical
literacy, musical thinking, imagination, perception of
music, creation of new interpretations, independent
work, attention, memory, and hearing control are
formed. It is known from the theory and practice of art
that in any type of education, if the student (student,
amateur) does not awaken the desire to work
independently and creatively, if he does not work
independently and creatively on himself, if he does not
seek it, then education is only lessons. As long as it is
Volume 03 Issue 02-2023
99
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
02
Pages:
95-99
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
limited to training, there will be no development and
growth for any talented person.
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