International Journal of Pedagogics
241
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue04 2025
PAGE NO.
241-242
10.37547/ijp/Volume05Issue04-63
1
Methods of Expressing the Artistic Features of Musical Works
on The Rubab Prima Instrument
Gochbakarov Azat Amonovich
Associate Professor of the Department of Folk Instrumental Performance, State Conservatory of Uzbekistan
Received:
28 February 2025;
Accepted:
25 March 2025;
Published:
28 April 2025
Abstract:
This article analyzes the artistic possibilities of the rubab prima instrument in expressing musical works
and the methods of their expression. The work highlights the possibilities of expressing the content and emotional
state of the work through the timbre, dynamics, agogy, and articulation features of the rubab prima. At the same
time, the performance technique and specific methodological approaches in the interpretation process are
analyzed. The article reveals the elements of musical speech characteristic of the rubab prima and their
importance in enhancing the artistic effect in musical works. Based on the results of the analysis, ways to achieve
artistic and expressive coherence in the performance of the instrument are recommended.
Keywords:
Rubab prima, musical expression, artistic features, performance style, timbre, dynamics, articulation,
musical interpretation, instrumental art.
Introduction:
As is known, any musical work is an
artistic work. Performing it at the level of an artistic
work requires thorough knowledge and high skill from
the musician. When a teacher educates a musician, he
must be able to instill in him a sense of mastery over
this instrument. To do this, from the very beginning of
teaching, it is necessary to constantly include in the
curriculum works that sound well on this instrument
and that the student likes. When working on works, it
is necessary to pay attention to the production of a
good sound with each stroke given by the right hand.
Because, the strength and quality of the musician's
sound are one of the main criteria for artistic
expression of the performance. No matter how high
the musician's performance technique is, if he cannot
reveal the artistic features of the work, he will not be
able to leave a good impression on the listener. To do
this, the musician must know his instrument well and
have mastered the expressive features of the
performance styles, be able to use them to the
necessary extent, and be able to produce a soft,
melodious sound and control it.
Mastering such skills is somewhat complicated and
takes some time. In practice, there are musicians who
have a high level of performance technique, but cannot
sing a melody. When working with a student in a
musical performance class, the teacher should
continuously cultivate the student's subtle feelings
such as the ability to feel and perceive music in each
lesson.
During the study period, special attention should be
paid to developing the student's musical awareness,
memory, rhythm, and hearing abilities during the study
period. To do this, the teacher himself can creatively
approach the lesson process, carefully observe the
students, and find various opportunities to achieve the
goal. We will consider some of them.
The teacher himself can perform a piece for the
student, analyze it together, and explain and reveal its
artistic aspects to the students; Visually compare
musical phrases in the work and explain them through
the student's feelings.
Listen to and discuss melodies and songs on magnetic
tapes with students, or compare 2-3 different
performances of the same work on the prima rubab,
explaining their differences, shortcomings, and
advantages.
As much as possible, study and play one piece of Uzbek
folk music with all students without notes, in the oral
tradition, along with the works in the program.
Attending and listening to concerts within and outside
International Journal of Pedagogics
242
https://theusajournals.com/index.php/ijp
International Journal of Pedagogics (ISSN: 2771-2281)
the educational institution. After the concert, of
course, it is best for the teacher to analyze the concert
performance and show the students its good points.
However, experienced musician-teachers emphasize
that one of the most important factors in the student's
rapid assimilation of the material is to perform the
music explained to the student exactly as the teacher
explained it.
Instead of analyzing only prima rubab works, listen to
performances on other instruments in concerts or on
magnetic recordings and analyze them. Listen to the
same work performed on the prima rubab and compare
and analyze the possibilities of artistic expression,
means and strokes in them. We mentioned in the
section on strokes that each stroke has a different
character in a particular work. When performing works
of European classics on prima rubab, the artistic
character of the work can be revealed only when the
student understands the work and the author of the
work, the period of its creation, the genre and
direction. For example, when performing works of
European classics, the sound should have soft, clear,
melodious qualities. In this case, the blow is given with
the middle of the mizrab, and the frets should be
pressed clearly and firmly with the fingers of the left
hand. If the amplitude of the right hand movement is
short and light, then in Uzbek folk melodies and
shashmakam samples, this blow is struck closer to the
harrak, achieving a resonant, clear sound. In the works
of Russian composers and European classics or works
of Azerbaijani composers, the character of this stroke
takes the form of a strict triplet. In addition, pauses also
play a major role in the melodic structure of the melody
and are played in staccato style, especially in phrases
where the rhythm is very clear. This is also a form of
artistic expression, thereby revealing the character of
the melody. The development of a specific rhythm is
different for each student. Therefore, counting,
learning with the help of a metronome, playing with a
piano accompaniment, using various forms of
ensemble performance (duet, trio, quartet), and
learning special melodies with a circle accompaniment
give good results. The rhythm is especially diverse. In
Uzbek music alone, we can see several types of rhythm.
If we see that the rhythm in the melodies of the
Bukhara and Samarkand directions is played with
various rhythmic forms, with continuity, vivacity, and
tremolo, then in the melodies of the Fergana-Tashkent
routes, we can see some smooth, clear, sonorous
rhythms. Based on the artistic nature of the works of
composers, if a softly performed melody leaves an
impression of sadness, sadness, and homeliness, then
in another work, the same soft tremolo leaves a
soothing, calming impression on the listener.
REFERENCES
Abdullaev, Z. Sh. History of Uzbek musical culture.
—
Tashkent: Fan, 2001.
—
320 p.
Sadullaev, A. Theoretical foundations of musical
performance and musical expression.
—
Tashkent:
Sanat, 2010.
—
278 p.
Abdushukurov, N. The Rubab instrument and its
performance possibilities.
—
Tashkent: Yoshlar
Publishing House, 2015.
—
185 p.
Juraev, H. Methods of playing Uzbek traditional musical
instruments.
—
Tashkent: Navruz, 2018.
—
240 p.
Mirzaev, B. Uzbek folk music and instruments.
—
Tashkent: Meros, 2005.
—
210 p.
Nazarov, Y. Musical instruments and the basics of
orchestration.
—
Tashkent: Sanat, 2011.
—
260 p.
