DEVELOPMENT AND INNOVATIONS IN SCIENCE
International scientific-online conference
54
METHODOLOGY FOR DEVELOPING STRING INSTRUMENT
PERFORMANCE
Mirsadullaev Mirlaziz Mirmuslimovich
Basic doctoral of Namangan state university
https://doi.org/10.5281/zenodo.14921138
Annotation:
This article provides detailed information about the
methodology for developing stringed instrument performance, the types of
stringed instruments related to the Uzbek folk instrument orchestra.
Keywords:
folk instruments, process, composer, work, music, orchestra,
melody, melody, methodology, experience, section, tradition.
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
DEVELOPMENT AND INNOVATIONS IN SCIENCE
International scientific-online conference
55
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;
DEVELOPMENT AND INNOVATIONS IN SCIENCE
International scientific-online conference
56
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 the educational process. Of course,
the role of teachers here is invaluable. The student first acquires such important
knowledge as the sounds of the tempered sound series and their reflection in
writing (notes). It is known that there is no distribution of these tempered
sounds in the word gijjak. Therefore, it is clear that specific difficulties will arise
in the educational process.
However, the student’s talent, work and the correct pedagogical approaches
of the teachers will help to overcome these. First, after the student has mastered
the position of the div during the performance, how to hold the gijjak, the rules
of drawing the bow, and so on, he gradually moves on to playing notes within an
octave, and at the same time the complexity of these exercises is expanded and
deepened. Mastering the direction of national performance. Just as every nation
has its own unique mentality, there are undoubtedly differences in the art of
music.[4] Therefore, it is very important for performers to first deeply
understand and comprehend the specifics of their national music and the
characteristics of their nationality.
In this case, it is also necessary to carry out several important tasks and be
persistent in them. In particular, it is important to constantly listen to works
related to national music, perform samples of them, master the necessary
knowledge in this regard, take special educational classes, and try to be aware of
scientific sources. The share of teachers is also large in this process. Later, it is
also required to study and be aware of the unique styles formed on the basis of
our national music, the individual styles of accomplished performers and
creators. Be able to use unique performance decorations during the
performance of musical works. The student is required to use unique
performance decorations related to national music during the mastering and
performance of the work, and to use them in their place and to the necessary
extent. Because it is difficult to imagine our national music without performance
decorations. The characteristics of nationality are brightly reflected in them.
DEVELOPMENT AND INNOVATIONS IN SCIENCE
International scientific-online conference
57
Having a strong musical memory. Another factor that determines the skill and
level of a performer is the development of musical memory at a high level. There
are separate stages in the development of this aspect. For example, let's take
memorizing a piece. This unique principle, which has been tested, is important
and is implemented as follows. First, the selected piece of music is listened to as
many times as necessary (many times).
This listening process requires extraordinary attention. Listening to the
musical text of the piece is also one of the necessary factors. Then, the piece that
has been closely familiarized as a result of listening is performed in parts. And
finally, the piece is memorized based on repetition as a whole. Of course,
coaches can apply their own principles in this regard based on their own
experience. However, it should not be forgotten that the performer’s having a
strong musical memory is one of the aspects that must be paid attention to from
the very beginning of training. Mastering the specific performance features of
different layers of creativity.[5] It is known that Uzbek music consists of several
types of creative directions. For example, folklore, classical music, composition,
pop and other directions are among them. At the same time, although they
acquire general national characteristics, they also have certain specific aspects.
Mastering these aspects and being able to approach each layer of creativity
separately when performing works, and being able to reflect them during the
performance, is one of the most complex requirements of performing.
Interpreting a work in a unique way. It is known from history that another
feature of our national music is the issue of interpretation. It is one of the leading
means of achieving spiritual maturity and a rich cultural and spiritual
heritage.[6] That is, a particular work has many interpretations. This implies
that each performer approaches a particular work in his own way, giving it a
unique interpretation. Indeed, we often encounter the fact that one work is
interpreted differently by different performers.
Each of them has acquired its own unique artistry. So, the issue of being
able to interpret each work in its own way, while preserving the essence of the
work, is also one of the necessary factors in our performance.
In conclusion, it should be said that in order to form the skill of producing
pure sounds on the gijjak instrument, the musician practices tirelessly for years.
In the national performing direction of the gijjak specialty, these skills are also
required to be interpreted in combination with the performance decorations.
Other necessary aspects are also important in this regard. There are factors that
DEVELOPMENT AND INNOVATIONS IN SCIENCE
International scientific-online conference
58
must be constantly paid attention to in the implementation of these works and
in independent training sessions to develop skills.
References:
1.Mirkhakimova, F. (2024). HISTORY OF MAHMUDKHOJA BEHBUDI HOUSE
MUSEUM. Ижтимоий-гуманитар фанларнинг долзарб муаммолари
Актуальные проблемы социально-гуманитарных наук Actual Problems of
Humanities
and
Social
Sciences.,
3(S/9).
https://doi.org/10.47390/SPR1342V3SI9Y2023N04
2.Utodilov A. History of execution during Uzbek public instradies. Tashkent:
Teacher; 1995.- P.14.
3.Abdurakhmanov R. Navoi and his musical world.- Tashkent 2012.- P.15.
4.Khamidov H. History of traditional culture of traditional singing. Tashkent:
Teacher; 1996. – P.17
5.Tashmatova A. History of Performing Arts - Tashkent 2017, - P.45.
6. Mirkhakimova, F. (2024). A LOOK INTO THE HISTORY OF SADRIDDIN AINI
MEMORIAL
MUSEUM.
Ижтимоий-гуманитар
фанларнинг
долзарб
муаммолари Актуальные проблемы социально-гуманитарных наук Actual
Problems
of
Humanities
and
Social
Sciences.,
4(S/1).
https://doi.org/10.47390/SPR1342V4SI1Y2024N05
