Xorijiy lingvistika va lingvodidaktika
–
Зарубежная
лингвистика
и
лингводидактика
–
Foreign
Linguistics and Linguodidactics
Journal home page:
https://inscience.uz/index.php/foreign-linguistics
Pedagogical approach to the components of musical-
rhythmic movements in future music teachers
Oygul SHODIYEVA
Samarkand State University named after Sharof Rashidov
ARTICLE INFO
ABSTRACT
Article history:
Received April 2024
Received in revised form
10 May 2024
Accepted 25 May 2024
Available online
25 June 2024
This article discusses the importance of the development of
society and the quality of education in the modern world. The
authors emphasize the relevance of comprehensive reforms in
the education system and the need to create a modern system
adapted to current requirements. Several proposals are being
discussed to improve the educational sector, which can help
improve the overall quality of education and, as a result,
improve the socio-economic development of society at the
global level.
2181-3701
/©
2024 in Science LLC.
https://doi.org/10.47689/2181-3701-vol2-iss1
This is an open-access article under the Attribution 4.0 International
(CC BY 4.0) license (
https://creativecommons.org/licenses/by/4.0/deed.ru
Keywords:
musical-rhythmic
movements,
musical-rhythmic
competencies,
harmony of music and
movement,
musical works,
ear for music,
memory,
attention,
sense of rhythm,
plastic expressive
movements.
Bo
‘
lajak
musiqa
o
‘
qituvchilarida
musiqiy-ritmik
harakatlar komponentlarini pedogogik yondashuvi
АННОТАЦИЯ
Калит сўзлар:
musiqiy-ritmik harakatlar,
musiqiy-ritmik
kompetensiyalar,
musiqa va harakat
uy
g‘
unligi,
musiqiy pesalar,
musiqiy eshituv,
xotira,
diqqat,
ritm tuy
g‘
usi,
plastik ifodali harakatlar.
Butun dunyoda jamiyat taraqqiyoti va ta’lim sifatini
rivojlantirish har qachongidan ham dolzarb masala b
o‘
lib,
bunday masalani hal etish ta’lim tizimida keng qamrovli
islohatlarni amalga oshirishni va zamonaviy
o‘
qitish tizimini
y
o‘
lga q
o‘
yishni taqozo etadi.
1
Teacher, Department of Art Studies, Samarkand State University named after Sharof Rashidov.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
53
Педагогический подход к компонентам музыкально
-
ритмических движений у будущих преподавателей
музыки
АННОТАЦИЯ
Ключевые слова:
музыкально
-
ритмические
движения,
музыкально
-
ритмические
компетенции,
гармония музыки и
движения,
музыкальные
произведения,
музыкальный слух,
память,
внимание,
чувство ритма,
пластические
выразительные движения.
В данной статье рассматривается важность развития
общества и качества образования в современном мире.
Авторы
подчеркивают
актуальность
проведения
комплексных
реформ
в
системе
образования
и
необходимость создания современной, адаптированной к
текущим
требованиям
системы.
Обсуждается
ряд
предложений по улучшению образовательной сферы,
которые могут способствовать повышению общего
качества образования и, как следствие, улучшению
социально
-
экономического
развития
общества
на
глобальном уровне.
The advancement of society and the enhancement of educational standards
globally is a pressing concern that demands immediate attention. To address this
challenge, it is essential to implement comprehensive reforms within the education
system and establish a contemporary teaching framework. The formation of a person
with high intellectual and creative abilities in the education of musical-rhythmic
components of future music teachers on the basis of pedagogical approaches is a
potential that can be rapidly integrated into the modern world of high technologies and
information. The application of acquired knowledge helps to achieve high results in
practice and various fields. This highlights the necessity to enhance the training of
students in higher educational institutions. Consequently, a significant objective of the
higher pedagogical institution is to establish the requisite preparatory conditions.
A specialist with professional skills, which allows them to adapt to society with alacrity.
In light of the aforementioned considerations, particular emphasis is placed on the
development of musical and rhythmic abilities, which are of paramount importance in
music education and represent a fundamental component of the creative abilities of
future teachers-choreographers. This, in turn, contributes to the overall development of
the individual. The creative potential of a specialist. The fundamental work of local and
foreign scientists has been devoted to the problem of personality development, its
possibilities, abilities, and characteristics. A number of scientists have made significant
contributions to the study of this problem, including R. Altshuller, V. Andreev, L. Wenger,
L. Vygotsky, V. Druzhinina, V. Zagvyazinsky, V. Kan-Kalik, D. Kirnos, L. Luzina, A. Melik-
Pashchaev, R. Petrova, V. Shadrikov and others. The content and structure of modern
science were subjected to a comprehensive examination. The creative abilities of future
teachers, the main ways and methods of improving their qualifications (A. Abdullina,
Yu. Babansky, N. Kichuk, N. Kuzmina, S. Sysoeva, V. Slastenin). In parallel, the professional
skills of future choreography teachers, who have primarily studied the formation of
scientific works (A. Burlya, S. Zabredovsky, A. Martynenko, B. Stasko, A. Tarantseva, etc.),
have been examined in scientific works.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
54
The formation of the individual activity style of the future teacher of choreography,
as well as the formation of the artistic and aesthetic experience of future teachers of
choreography. Although the components of music and musical-rhythmic movements are
crucial for the development of the creative potential of future music teachers, there is a
growing interest among scientists in exploring the pedagogical beliefs of these educators.
Currently, there is a great deal of interest in the issue of developing musical and rhythmic
abilities as part of music education. Future music teachers do not accord sufficient
importance to the development of musical-rhythmic movement components as a
component of individual creative abilities. From the perspective of scientists, the
psychological characteristics of an individual responsible for the possibility of musical
and rhythmic abilities facilitate the successful performance of musical activities. In
general, a person's musical and rhythmic abilities are only manifested and formed in
active creative activity. This necessitates a departure from conventional thinking, an
ability to approach matters in an unconventional manner. The formation of the future
music teacher's understanding of musical and rhythmic abilities simultaneously results
in changes to the individual's psychological characteristics. This is reflected in the
capacity to reflect, which is a determining factor in the successful performance of a
person's musical and rhythmic activities. In the structure of musical-rhythmic abilities in
future music teachers, we have identified the following components: it forms and
develops vocational training. As part of the development of individual creativity, future
music teachers are required to demonstrate a range of skills, including an understanding
of rhythm, the ability to recall musical rhythms, an aptitude for musical perception, and
the capacity to perceive musical elements. The concept of musical-rhythmic memory is a
synthetic one, combining the auditory and muscular features of memorization into a
single entity. The musical-auditory-based musical-rhythmic memory allows for the
movement of images, their direction, speed, and recall, and also strengthens the muscles
of the senses, such as length, sequence, and degree. With regard to perception and
expression, it can be observed that musical imagery is capable of corresponding to
musical intuition and perception. In fact, the capacity to perceive and move in accordance
with a given rhythm is indicative of an individual's ability to move. However, the
experience of music, the emotional expressiveness of musical rhythm, and the ability to
accurately reproduce it yielded the desired result. It is commonly assumed that these
components are related to musical perception and that the repetition of rhythm forms
the core of musical rhythmicity. This will undoubtedly prove beneficial in enhancing the
abilities of future music educators.
The practice of working at the university and observing future teachers and
components of musical-rhythmic movements demonstrates that modern students
require information communication tools, creativity, and self-expression tools for
creativity and excellence in mastering various types. A wealth of material on
specializations and individual creative work will be beneficial.
Rhythm is a type of synthetic activity that combines several forms of art (music,
pantomime, plastic art, dance) into a unified whole. In the historical process of social
development, music and dance are indispensable means of reflecting reality. The art of
dance and music has existed and developed in an inseparable unity since its inception. It
is evident that their relationship and interaction in all fields, particularly in the field of
performance, has been robust and has been sustained for centuries. The expressiveness
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
55
of human intonation is a fundamental aspect of music, which strives to convey the
nuances of speech and human div movements in a fluid and expressive manner. The
figurative nature of music lends itself to the possibility of combining it with other forms
of art. The expressiveness of dance plasticity is considered to be an emotional and
emotional rhythmic basis. The logic of musical development illuminates the emotional
image that is plastic in dance. The relationship between choreography and musical-
rhythmic movements is a fundamental aspect of the development of music. The potential
of musical and dance art to reach the depths of the human soul and reveal a common
meaning is considerable. It is important to note that in ancient Greece, dance, music and
song were the only arts. The ancient dance developed with strict adherence to rhythm,
rhythmic step and hand movements in the correct combination. The harmony of Apollo
teaches the proper unification of the soul with the div. The poses and movements
should be aesthetically pleasing and in harmony with one another, as the dance reflects
the mood of the thoughts and feelings expressed. This is therefore a natural combination.
It unifies music and dance as a single system of musical and rhythmic education. The
system of music and rhythmic education has a long history of development and is
therefore universal in its application. The founder of this system, Emile Jacques Dalcroze
(1865-1950), a Swiss musician, composer and teacher, is regarded as the originator of
the concept of using movements. It can be observed that music is regarded as a means of
fostering children's general musical aptitude. E. Jacques-Dalcroze observed that a
significant proportion of students lacked an aptitude for rhythm. He was the driving force
behind the development of the complex, and he also worked on rhythmic exercises called
"solfeggio for the div". Dalcroze sought to cultivate good auditory-motor skills in his
students.
Dalcroze considered the representation of man as a unity of spiritual and physical
power to be valid if the div is cultivated. The two disciplines share a common
foundation in the domain of movement. Rhythm is the fundamental element of music,
serving as the foundation for interpreting the composer's intended meaning.
It is only through the experience of rhythm and the act of engaging with it that one
can truly comprehend its meaning. Consequently, it is regarded as a valuable tool for
musical and rhythmic development.
One of the abilities of students in higher educational institutions is the ability to
perform rhythmic exercises, which are part of the course entitled "Rhythmic and Musical
Movement". The holistic, active, and emotional perception of music, music and the close
relationship between them can be considered actions. Rhythm represents the foundation
upon which physical training is based. It can be reasonably assumed that the concept of
rhythm will prove beneficial to their future professional activities. The harmonious
development of the personality, and spiritual and physical achievements reach
perfection. The development of musical and rhythmic abilities is facilitated by the
application of rhythm. The development of the aforementioned abilities can be observed
in future music teachers, including independence and synchronization of movements,
speed of reaction, motor-spatial imagination, analytical-synthetic dexterity,
concentration and distribution skills. Musical rhythm is an integral aspect of music and
occurs. From a novel perspective, it is perceived as if it were a novel phenomenon, akin to
the rhythm of a dance movement. This adds significantly to the concept of motoric,
plastic, and thus musical rhythm.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
1 (2024) / ISSN 2181-3701
56
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