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HISTORY OF CONDUCTING AND ORCHESTRAS AND CHOIRS
Sofya Tajetdinova
Associate professor of the Department of Music Education,
Nukus State Pedagogical Institute named after Ajiniyaz.
https://doi.org/10.5281/zenodo.13751721
Abstract.
This article talks about the history and theory of conducting, orchestras and
choirs, and the artists working in this field.
Key words:
conducting, orchestra, choir, ability, art, pianist.
ИСТОРИЯ ДИРИЖИРОВАНИЯ, ОРКЕСТРОВ И ХОРОВ
Аннотация.
В этой статье рассказывается об истории и теории дирижирования,
оркестрах и хорах, а также об артистах, работающих в этой области.
Ключевые слова:
дирижирование, оркестр, хор, способность, искусство, пианист.
The word "conductor" is pronounced differently in different languages: the Germans say
"Dirident", the Italians say "Diridente", the French say "Chef orchestre", the English say
"Conductor".
In any language, this word means leader, chief, director. Thus, the conductor is the leader
of the orchestra. Its main task is to control the active and well-organized life of the community.
The conductor ensures that the musicians perform the musical work in harmony, that they
start and end the piece together, play their instruments in unison, keep the pauses in time, and start
the tune in unison. The conductor should adapt the performance of the musicians to a single rhythm
and tempo, and give signs to direct them to the performance. By the way, for a long time, many
people understood that the task of the conductor is only to ensure the performance of the orchestra
in a single rhythm. In fact, the profession of a conductor is very complicated and difficult. It
requires a lot of mental and nervous work, constant physical strength. Therefore, a conductor must
have good health and endurance. The self-control necessary for him also depends on the state of
health and nervous system.
The conductor is the main coordinator of the activities of more than 100 musicians. His
role is partly similar to that of a director. The director is the artistic director of the stage work in
the theater, he coordinates all the work related to the preparation of the performance. The
conductor can also be considered as the direct director of the orchestra. Leo Tolstoy's "What is
Art?" in his famous article called "The activity of art is to restore the once-experienced feeling,
and express it through words, paint, sounds, and symbols in such a way that others can experience
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this feeling. consists of delivery. Art is a type of human activity, through which a person conveys
his feelings to others through external signs, and they transfer this feeling to their hearts. they feel
from the heart." This recognition directly applies to the art of conducting. This is the conductor's
emotional influence. his ability to convey emotions to others is important. First of all, he needs to
captivate the orchestra with his emotions, and then to enchant the audience with him.
This art has a long history. Ever since people started singing in unison, they have had a
need to follow a common rhythm and tempo. In the dances and songs of primitive peoples, the
rhythm is clapped, as well as pounded or drummed. In ancient Greece, there were choir leaders
who beat their feet and set the rhythm. It is also known that in the Roman school of singing, certain
hand movements were used to control the music. These two methods of conducting formed the
basis of orchestral management, with the conductor striking the beat with his feet, tapping the
keyboard or the floor with a baton, and also striking the keyboard with a reduced sheet of music.
was standing So, it took a long time to demonstrate the tact with the foot. Therefore, many people
remember this thing with disgust.
In particular, the German composer Matteson (1731) sarcastically said: "It is surprising
that some people express a positive opinion about showing the beat with their feet, perhaps they
think that their feet are smarter than their heads. That's why they obey the foot." At that time, the
conductor's baton was made in different lengths. Sometimes it reached 180 cm in length and was
called the "Royal Brass Rod" and was struck on the ground to mark the beat. It is not difficult to
imagine how loud the sound of percussion hitting the floor in an opera house, a concert hall, or a
church can make. This method of conducting an orchestra was especially common in France,
particularly in Paris. It was introduced and spread by a composer named Lully. One day, he was
so engrossed in music that he injured his leg with the sharp end of a cane while conducting. This
wound caused his death.
However, this tragedy did not overshadow this deeply rooted tradition. In a word, in the
17th and 18th centuries, composers playing harpsichord, organ, etc., and sometimes the main
violinist, who today we call orchestra concertmaster, performed the task of conducting. Liar
mainly performed their own, and sometimes others' works accompanied by an orchestra. By the
time when the art of music began to develop rapidly, important operas appeared for the first time.
Composers began to write music for a large ensemble and voices. There was a need to
manage them in order to achieve a uniform pace of performance of such groups. As the pieces of
music he created became more complex, the need for singers and orchestral management grew
stronger. The need to observe unanimity and pace in the performance demanded that this important
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task be assigned to the most responsible and qualified musicians. Such people are the first violinist
of the orchestra or the musicians who play the cembalo part that provides harmony in the orchestra.
Sometimes both of them performed this task together. That is, the chembalist led the
soloists and chomi, and the first violinist led the orchestra. This type of management was also a
conductor, but this work did not have the current importance and form. A characteristic feature of
this stage of the development of the art of conducting was that the orchestra was led by musicians
who were its members. While conducting, they also continued their basic training: first violinist,
first violinist, organist - organist, harpist - harpsichord player. It was clear that the situation of
carrying out several tasks together in this way could not last long. This situation lasted until the
texture of musical works was relatively simple and sufficiently known and understandable to all
performers, and most of them were preserved because they were understandable. As the musical
art developed, the composition of the works and the musical language became more complex.
Working in an orchestra and managing it at the same time became a difficult, and later
impossible task. When the composition, language, texture of the musical piece became
complicated, and it became impossible to manage the collective performance of the music, the task
of managing the performance was taken over by a person who was not busy in the orchestra at the
same time.
This period can be called the emergence of conducting, that is, the beginning of conducting
in our modern understanding. The conductor separated from the orchestra because it was necessary
to manage it from the outside rather than from the inside. This situation greatly increased the
possibilities of managing the performance and increased the influence of the conductor on other
musicians. Now the conductor has become the only person who interprets the musical work. The
process of development and perfection of conducting techniques began, without which it was
impossible to manage a huge team of performers who interpreted music based on various means
of performance.
Among the first, this profession was brought to the peak of skill by performers-musicians
or composers with known conducting abilities. The names of Lully, Gluck, Mozart, Mendelssohn,
Spoor, Weber, Richard Strauss, Wagner, Berlioz, F. Liszt, G. Malerva and others can be listed
here. All of the conductors named have been engaged in this profession at the same time, in
parallel, with their other specialties - composition, playing the violin, etc. Such parallel activity
was preserved in later periods.
For example, composer Wagner, composer and pianist Ferenc Liszt, pianist Hans von
Bülow, composer Gustav Mahler, composer and pianist Sergei Rachmaninov, pianists Ziloti and
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Safonov, Richter and Mottler were outstanding conductors. They received the education of
composers and at the same time were pianists. Nikisch was a violist and composer, Arturo
Toscanini was a cellist, Bruno Walter and Otto Klemperer were pianists, Oskar Fried was a horn
player, etc. The further development of musical art demanded that the musicians engaged in the
profession of conducting should give up other occupations and dedicate themselves to this
profession. In the 19th century, the art of conducting was especially developed in Germany and
Austria-Hungary.
Due to history, Germany was divided into many local states. Each of these "states" had its
own capital, and they had their own opera theaters and concert orchestras. This situation increased
the need for conductors, which in turn stimulated the rise of the art of conducting. In the second
half of the 19th century, composers who conducted their own music were replaced by a new type
of conductors who conducted the works of other authors. Among the first of these, it is worth
mentioning the name of Hans von Bülow. "We should be grateful to this person who was a famous
conductor as well as a great composer. After all, thanks to him, the attitude towards conducting
was formed not as a craft, but as an art," wrote the famous conductor F. Weingartner about Hans
Bülow. Hans Von Bülow's mentor was Richard Wagner, then Hans Richter. Felix Motl, Gustav
Mahler, Felix Weingartner, Arthur Nikisch, etc. considered conducting as an ART. They
considered it as great art as the art of a solo musician.
REFERENCES
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Tajetdinova S.M. “Xor” N,.”Bilim”2012.
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Tajetdinova S.M,. Dirijyorlıq. N.,2012
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Хор ҳәм хортаныў пәнин оқытыўды заманагөй педагогикалық технология ҳәм
интерактив усыллар тийкарында шөлкемлестириў Илим ҳәм жәмийет. Илимий –
методикалық журнал 2017 – жыл №1 Әжинияз атындағы НМПИ баспаханасы
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Тажетдинова С. М., Худайбергенова Г. Ж. Формирование музыкальной культуры
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Тажетдинова С. М. Народные песни как фактор развития личности учащихся
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