Volume 03 Issue 09-2023
282
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
09
Pages:
282-284
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
A
BSTRACT
In the article, based on extensive material, issues of folklore and fiction are explored, the author describes
the connections between folklore and literature of the twentieth century, and reveals the common features
of these relationships.
K
EYWORDS
Folklore, fiction, image, idea, hero.
I
NTRODUCTION
The ancient foundations of musical folklore go
back to the labor processes of our ancestors in
primitive times, to ceremonial melodies and
sayings that imitate various natural phenomena,
to games and actions associated with them. Thus,
the most ancient examples of musical art arose in
connection with impressions received from the
external world, and became a kind of art in which
a complete artistic image is created through
human thinking. Folklore music reflects life,
history, struggle, philosophy, worldview, attitude
to various events, and human qualities of people.
The main feature of musical folklore is the
creative process - the oral nature of the creative
(creative) and performing process, and it is
determined by public participation. Many of its
features, such as simplicity, tradition, variability,
locality, variation, functionality, idiosyncrasy,
popularity, anonymity, syncretism, are reflected
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Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Research Article
FOLKLORE AS A SPECIAL FORM OF CREATIVITY
Submission Date:
September 20, 2023,
Accepted Date:
September 25, 2023,
Published Date:
September 30, 2023
Crossref doi:
https://doi.org/10.37547/ijasr-03-09-45
Maxamatdinova Lola Maxamatdinovna
Senior Teacher Of The Department Of "Folk Art" Of The Nukus Branch Of The State Institute Of Art And
Culture Of Uzbekistan
Volume 03 Issue 09-2023
283
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
09
Pages:
282-284
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
in this main feature of the creative process
inherent in folk music. It has its own social
essence and artistic purity. Uzbek musical
folklore is the cultural heritage of the people , its
spiritual world; it is distinguished by its unique
arrangement, genre composition, internal laws
and performance styles.
Genre (French - from the word gender, genus,
variety) - a historically established internal
division into types of art and a concept
representing this process; a special type of
musical work, a set of works distinguished by the
unity of form and content. In general, this means
distinguishing between works of art.
The practical group includes musical and ritual
singing techniques, including alla , work, ritual,
historical songs associated with a specific
situation (lifestyle, work, ritual, seasons, nature,
calendar) and performed at a certain time; ritual,
pastoral, military, playful (dance) musical tones
and melodies. They, in turn, belong to certain
types (for example, labor - agricultural, livestock
and handicraft songs; ritual - seasonal, family and
religious songs) and include genres (for example,
“Alla”, “Maida” , “ Yor
-yor", "Mubarak", " Yigi-
yoklov ", " Marsia ", "Badik", etc.).
The main directions of folklore are instrumental
and narrative techniques, which are not only
examples of their own art, but also perform a
certain social function. For example, if folk songs
are associated wit
h the labor process, then “Yor
-
yor”, “ Olan ”, “ Muborak ”, “ Kelin salom”, “ Yigi
-
yoklov ” are associated with weddings and
mourning ceremonies. Genres of musical folklore
differ not only in ideological and artistic features,
but also in methods of performance (for example,
solo performance, group or group performance,
with or without accompaniment, soloist and
ensemble performance). No matter how diverse,
sometimes functional and strictly functional the
genres of folklore may be, they form an integral
artistic system.
Ancient examples of Uzbek folklore have not
reached us in their original form. Genres such as “
Sust Khotin”, “ Choi” Momo ", "Ramazan" or "
Boychechak ", considered ancient, at a certain
time were subject to revision in the spirit of the
worldview of the people. Indeed, some works of
musical folklore, linking the subsequent
development and status of certain genres with
certain periods, were preserved and polished by
several generations of folk performers, whose
ancient appearance was passed on from
generation to generation.
In "Devon Lugot" at Turk" by Mahmud Kashgari,
samples of songs and national anthems of the
ancient Turkic peoples have been preserved. The
passages from folk songs quoted in Devon (mostly
in quartet form) have both scientific, practical and
educational value. The term "song" is a broad
concept, and among the Turkic peoples the term
"song" was previously interpreted as a genre of
poetry. It is later described as a work of art that is
the result of a combination of poetry and melody
with the verb "add". Examples in Devonian
include hunting, animal husbandry, seasonal and
wedding ceremonies, and heroic songs.
Volume 03 Issue 09-2023
284
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
09
Pages:
282-284
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
If we compare the songs “Yor
-
yor” or “ Kelin
salom” from the most common practical genres of
musical folklore, we will see that each of them is
performed by women at a wedding ceremony.
However, they differ somewhat in style and place
of execution, content and form. "Yor-yor" from
the bride's father's house is performed by her
friends as an observation song, and " Kelin salom"
is the bride's first greeting to the new
homeowners and close relatives of the groom (at
the "face opening" ceremony), solo after the
wedding. in the form of a circle, accompanied by
women. Some oases can also host your wedding
day. “Ulan” was originall
y intended as a wedding
song, but today the atmosphere of its
performance has changed (from a ritual to a genre
unusual in everyday life). In the theatrical
interpretation, Olan became an argument
between a boy and a girl.
The composition of practical and non-practical
genres of Uzbek musical folklore is rich and
varied. They are one of the means of informing us
about the distant past of our people and are
always with us throughout our entire social life
and cultural environment. As long as humanity
exists, they will also exist and provide spiritual
food and spiritual peace to every person.
Therefore, they are important for their historical,
cultural and artistic and aesthetic value. The
singing of the Uzbek people (its life force is
creativity, performance, listening, understanding,
etc.) is rich in local styles and various
interpretations, and as a tradition of each people
is preserved as an example of creativity from
different periods.
R
EFERENCE
1.
Madrimov B.Kh. Musical culture teacher’s idea
of pedagogical creativity and pedagogical
technology // Bulletin of Science and
Education. - 2020. -No. 21-2 (99).
2.
Norova Sh.U., Naimov T.D. ABOUT THE
EDUCATIONAL IMPORTANCE OF CLASSICAL
MUSICAL WORKS IN THE EDUCATION OF
STUDENTS //Academy. - 2020. - No. 5 (56).
