The musical instruments reflect the national characteristics, traditions, customs and values of each nation, from which the sound is derived. Performing arts in musical instruments as a means of glorifying the spirituality of mankind is the responsibility of folk art, and from time immemorial has been formed and developed among the masses. The national instruments are constantly being perfected by skilled musicians and are distinguished by their vibrancy, musicality and melody. As musical instruments have become more and more in demand throughout history, so has the attention paid to their educational and pedagogical aspects.
This article deals with a brief history of Uzbek folk instruments, musical instruments recorded in historical sources and treatises of great scholars, and promotion and teaching of national instruments among young people.
This article reveals the basics of Uzbek folk paremas formed on the basis of the lexical-spiritual group of "Insects''. According to it, the Uzbek folk parems, formed on the basis of the lexical-spiritual group of "Insects'', are mostly formed by the appearance, biological characteristics, color and lifestyle of insects. It was noted that in the Uzbek folk paremas formed on the basis of insect names, paremas formed on the basis of harmful insect names are more common. The reason for this is that there are more harmful species of insects than beneficial ones, and another reason is the idea that bad people are quick to notice, indifferent to everything, indifferent to everything that does no good to those around them, rather than good people who benefit society. The Uzbek folk parems formed on the basis of the names of "Insects" are substantiated by the fact that they appear in the semaphores as a positive character-defining, moderate-character-defining, negative-character-determining factor. In Uzbek folk paremas, it is said that the names of insects serve as a means of providing imagery to express people's appearance, behavior, character, speech, just to name a few, and building a proper comparison, analogy, transfer of meaning.
Many people know that the special science of organology deals with the issues of the origin, functioning and interaction of musical instruments. Among its well-established rules, it is believed that the instrument is the most important support of the musician. In a sense, it is a partner and companion of the performer in his creative aspirations, a reliable basis for improvisation, a source of inspiration and fantasy.
Especially great is the importance of musical instruments in the context of the unwritten tradition. Here, in addition to everything, musical instruments act as a kind of fixators for the established norms of oral traditions.
It is no accident that the notation system in the classical music of the East was formed as a tablature for the instrument dominating in its era, for example, the tablature for oud of the 13th-15th centuries, the Khorezm tanbur tablature of the 19th century. The instrument was used to explain the modal and rhythmic systems, the principles of the structure of vocal and instrumental melodies. It is not for nothing that they say that the Bukhara tanbur is the key to the maqomat system, the tar is the personification of the Azerbaijani-Iranian mugams and dastgahs, the Kashgar tanbur (a different scale and principles of execution than the Bukharian one) is the leading instrument of the Uyghur muqams.
The forms and designs of the instruments are the result of the age-old searches of musicians to perfect their timbre-acoustic capabilities, the adaptation of the instruments of their profession to themselves. And the scales established on them are also the result of natural selection of more than one generation of musicians-performers and listeners, in a word, the material embodiment of stages in the history of musical culture.
Central Asian scholars’ treatises on music, fiction, and painting allow us to some extent restore some of the broken links in the long chain of historical development of Uzbek folk instruments that have survived to the present day. Hundreds of years have passed, and musical instruments have survived to this day, taking their place in solo, ensemble, and orchestral performance.
Ўзбекистон мустақилликка эришганидан сўнг давлат бошқарувида маданият соҳасидаги сиёсатини белгилаш ва амалга оширишда асосан миллийлик, тарихийлик ва халқ маънавий-ахлоқий тараққиётининг кўп асрлик анъаналари ҳисобга олиниб, миллий қадриятлар, миллий анъаналар, халқнинг миллий ўзига хослиги сақлаб қолиниши учун зарур шартшароитлар яратилиб, қўллаб-қувватланди. Ушбу миллий маданий меросни тиклаш, тарғиб қилиш маъсулиятини ўз зиммасига олган бадиий жамоалар фаолияти муҳим аҳамиятга эга бўлди.
This article presents the works of Uzbek composers in the program of pop symphony orchestra. In addition, the works of pop symphony orchestra and composers of Uzbekistan are widely covered.
At the current stage of development of the new Uzbekistan, it is important priorities to competently raise the younger generation and wisely use the possibilities of musical art in it. In this regard, the decision of the president of the Republic of Uzbekistan dated February 2, 2022 "on additional measures for the further development of the culture and art sphere"was set as important tasks [1]. One such task consists in the high level of formation of performance skills of future music teachers in folk instruments in the process of higher pedagogical education.