Volume 03 Issue 05-2023
103
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
03
ISSUE
05
Pages:
103-107
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
676
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
In this article, comments were made about the pedagogical possibilities of using status art in educating the artistic-
ideal and aesthetic characteristics of children's music and art school students.
KEYWORDS
Educational system, music culture, Status art, aesthetics, Development strategy, tradition.
INTRODUCTION
At the end of the 19th century and in the first half of
the 20th century, one of the great successors of the
maqam performance tradition, and musician Khafiz
Abdulaziz Rasulov, in order to improve the creative
skills of his students, taught the young singers who had
learned the maqam in different versions of the same
song and taught them to improvise independently. In
this way, the teacher demanded from his students to
achieve creative perfection. Based on the "Master-
Disciple" school, the study of statuses was formed in
the distant past and is continued until now. Performing
arts lessons have traditionally been taught in a mentor-
student format. Each student was under the
supervision and education of his teacher. Music art and
fiction writing, singing, correct pronunciation,
understanding the meaning of poems and ghazals,
studying musical heritage have always been under the
supervision of teachers. The student's independent
singing in front of the people and music lovers was
done with the direct permission of the teacher.
Introduction to the study of professional music in the
oral tradition in musicology began around the 1960s,
while the ideas of bringing these musical genres into
school music activities began in the 1980s. In the spring
of 1980, at the seminar of folklorist musicologists held
in Khiva, many Uzbek musicologists, composers and
pedagogues of higher educational institutions of music
noted the educational significance of makom and
other professional music genres and said that their
study should begin at school. . For example, the author
of the national anthem of Uzbekistan, master
Research Article
PEDAGOGICAL POSSIBILITIES OF ARTISTIC-VISUAL AND AESTHETIC
EDUCATION OF STUDENTS THROUGH THE INSTITUTION
Submission Date:
May 17, 2023,
Accepted Date:
May 22, 2023,
Published Date:
May 27, 2023
Crossref doi:
https://doi.org/10.37547/ijp/Volume03Issue05-21
Boltayev Umidbek Rustamovich
Teacher Of Urganch State University Independent Researcher, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijp
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 05-2023
104
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
03
ISSUE
05
Pages:
103-107
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
676
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
composer Mutal Burhonov, says that in Bukhara, the
study of classical music genres started from childhood
through the teacher's apprenticeship. had spoken.
According to the decision of this seminar, the Ministry
of Education was instructed to enrich the content of
school music lessons with maqam, classical tunes and
songs, big songs and epic music. In 1982, A.E. Koshayev
compiled and published the program of studying the
status of teachers in music-pedagogical faculties of
pedagogical institutes. Since then, the practice of
studying professional music genres and involving them
in school music activities continues. At the same time,
a lot of work has been done on the methodology of
studying these classical works at school. Aqilkhan
Ibrokhimov and Hamidulla Nurmatov were among the
first to express their opinions about the methods of
learning statuses in school music classes and created a
manual for teachers. The above-mentioned works have
been of some help in solving these problems. But now
the problem is not completely solved. In our view, the
biggest problem is the lack of sheet music, textbooks,
study guides, magnetic and harmonic recordings for
listening, and technical tools .
It is known that all the wise artisans, talented poets,
musicians and scientists who grew up among the
common people were recruited into the palace service.
The famous musicians and singers who worked in the
association of musicians in the palace provided musical
services to rural and urban residents until they came
into the public eye, and their creative principles were
formed on the basis of this simple folk music.
Therefore, even in the creation of maqams, our great
ancestors made good use of bright examples of folk
music. With the honor of independence, among all our
national values, it is envisaged to restore the status of
statuses, to study their theoretical foundations and
practical implementation on a large scale. From this
point of view, I am in favor of listening to "Maqom"
branches or excerpts from them, singing some
samples, and including them in the educational process
of general secondary schools. The system of studying
and teaching statuses has not yet been fully formed. If
we want to look at the past system of this process, we
will see the tradition of master discipleship and the oral
implementation of this tradition. Nowadays, it is
evident that this process is partially based on the
European notation system. Both of these methods of
learning and mastering have their own advantages and
disadvantages.
While in the past, the teachers selected the young
people they liked, that is, those with a strong musical
memory, voice and interest, to teach maqam
performance, nowadays, some young people with
moderate musical abilities are also taught maqam
music. are engaged in. This is due to music notation and
audio recordings of status performances. In order to
learn and master complex and perfect musical genres
like maqam, it is necessary to learn from experienced
teachers and to use notation and audio recordings of
different performers as a means of communication.
Young students of maqam performance, various
methods for learning maqam performance (listening
to the performances of mature maqam teachers,
teaching them to perform, using improved sheet music
as much as possible, recording their performance on
magnetic tape and listening back, etc. improve its
performance by means of etc.) they use. Children's
music and art schools, in the process of teaching
maqam works to students, focus is mainly on getting
theoretical information about maqams and mastering
some bright examples of maqams or excerpts from
them by singing. The reason for this is that the students
educated in the system of children's music and art
schools are supposed to be aware of the general
nature and characteristics of statuses and receive
spiritual nourishment from them.
Volume 03 Issue 05-2023
105
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
03
ISSUE
05
Pages:
103-107
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
676
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
We think that it is necessary and useful to use the
following methods in teaching maqam musical
instruments to students:
•
getting to know the theoretical information and
practical performance characteristics of status and
other genres of professional music (classical
melody and song, big song, epic titles);
•
to compare and analyze mature hafiz who
performed maqam instrumental tracks and their
performance tracks;
•
in particular, to learn to distinguish between the
classification of statuses, structural features (in the
instrument, khana, bozgoi, in the song, miyankhat,
dunasr, namud, avj, furovard and tones) from each
other;
•
to study the notation of the statuses and to find
the subtle points of the performance that could
not be reflected in the score, and to ensure their
status in live performance;
•
listening to status samples in audio and video
recordings;
•
to regularly study some works from maqam and
other professional music genres based on the
methods mentioned above and strive to improve
their performance;
•
performing live performances at some events and
concerts.
The teacher can make some changes to the content of
the music lesson, noticing that most of the students in
the class are undergoing a period of mutation. When
teaching planned songs, the teacher focuses more on
song content and authors, musical trends, musical life
news, singing in high pitches, longer vocal-choir
exercises, smoother, mainly in the middle register. It is
recommended to switch to singing in (primary)
sounds. During this period, it would be appropriate to
give the students more concise and interesting life
information about makam, classical tunes and songs,
great songs and epics, their performance traditions,
bright and famous makam performers, and organize
conversations. Trying to hear more music.
Experiments show that students often like plays and
epics of great composers more. In such works, lyricism,
heroism and other human qualities have a great effect
on the students in the harmony of words and music
and captivate them. The teacher's professional level,
speech, and emotional feelings also play an important
role in this. The importance of the interesting and
effective course of lessons, the effective use of visual
aids, technical tools, and the use of communication
factors between disciplines is incomparable. Turning to
the topics taught in literature classes, literary works
reflecting historical events, the status of Alisher Navoi,
the sultan of our classical poetry, and other leading
poets, the analysis of the poetic texts of classical songs
arouse great interest among students. But this is not a
matter of completely stopping singing and only
listening and talking during the period of mutation.
In the new program, it is recommended to sing maqam
pieces, epic songs, and abbreviated pieces of classical
hymns (with high climaxes omitted). In this case, the
students who are undergoing a period of mutation do
not sing parts with high notes. First of all, the specific
topics of the lesson - maqams (Bukhara Shashmaqom),
Khorezm maqams, Ferghana-Tashkent maqam roads,
classical tunes and chants, epic songs, and other
genres of music that are not included in the
professional music genres of the oral tradition, are
introduced to European music. helps to understand
their essence on the basis of comparative study with
examples. Secondly, as in the old system, each type of
activity serves its short purpose, without having
specific minutes (lesson time) allocated for their
implementation, listening to music, exercises and
Volume 03 Issue 05-2023
106
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
03
ISSUE
05
Pages:
103-107
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
676
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
singing, singing exercises and songs, and practicing
music literacy. The lessons are not an independent part
of the lesson, but a musical activity that reveals the
content and theme of the lesson. This factor makes it
possible to learn classic tunes and songs mainly by
listening. Thirdly, new music activities such as
interesting rhythmic movements of the lesson topic,
accompaniment to music and music creation using
clappers and children's toy musical instruments such as
rattles, hoops, spoons and other rhythmic instruments
are used helps them master music genres. Due to the
presence of active participation and performance
features at the heart of these activities, they arouse
great interest in students.
All types of activities used in the classes are valid as an
integral part of the subject of the lesson. In this
respect, the subject "Music" belongs to the type of
mixed lesson and follows the following musical
activities, subordinate to the general theme of the
lesson: musical perception (listening), singing, musical
literacy, rhythmic movements and others. One of the
important tasks of the music culture lesson is to
develop students' musical abilities. Music perception
(listening) and music literacy activities lead to the
practice of all other activities with an integral
connection. Students' natural musical instruments are
their voices. Adapted parts for singing some classical
songs given in the program are necessary for
mastering the style of national musical traditions,
forming a bright intonation characteristic of musical
heritage, a sense of method (rhythm), and developing
students' musical learning ability and performance
skills.
In the process of group singing in the class, the student
manages his voice performance, listens and observes
the performances of his friends, and tries to sing along
with them. But this feature does not automatically lead
to singing excerpts from classical songs. For this, the
students should first familiarize themselves with the
original (real) performance of such works (on
gramophone record or magnetic recording), listen to
the teacher's proposed version 2-3 times, understand
the nature of laments and other melodic ornaments
typical of national classical songs. Before singing and
listening to such complex works, the teacher performs
a number of necessary vocal and choral skills. Pure
intonation (singing a pitch or sound clearly), forming a
pronunciation, vocal ensemble (singing in unison, not
rushing, not lagging behind others, not rushing ahead,
etc.) should always keep them in focus. Already,
listening attention and singing educational materials
constitute the educational content. Along with
learning them through listening and singing activities,
opportunities are created for comprehensive mastery
and expression of musical descriptions through playing
instruments, musical movements and performance
activities.
If you follow the above-mentioned recommendations
and advice given in other professional sources and
seriously approach the implementation of statuses,
you can overcome all difficulties in this regard and
enjoy statuses.
REFERENCES
1.
Decree of the President of the Republic of
Uzbekistan No. PF-60 dated 28.01.2022 "On the
Development Strategy of New Uzbekistan for
2022-2026".
El.
address:
https://lex.uz/docs/5841063
2.
Address of the President of the Republic of
Uzbekistan Shavkat Mirziyoyev to the Oliy
Majlis. December 29, 2020. Email address:
www.lex.uz
3.
Abdurauf Fitrat "Uzbek classical music and its
history". - Tashkent, 1993. - 70 p.
Volume 03 Issue 05-2023
107
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
03
ISSUE
05
Pages:
103-107
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
676
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
4.
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