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THE IMPORTANCE OF VOCAL-CHORAL SKILLS
Kulambetova Janıl
Republic of Karakalpakstan
https://doi.org/10.5281/zenodo.14610618
Abstract.
This article provides information about vocal-choral skills, types of vocal-choral
skills, the role of vocal-choral skills in music lessons, the structure of the singing apparatus and
sound production.
Keywords:
vocal, choral skills, apparatus, singing.
ЗНАЧЕНИЕ ВОКАЛЬНО-ХОРОВЫХ НАВЫКОВ
Аннотация.
В статье даны сведения о вокально-хоровых навыках, видах вокально-
хоровых навыков, роли вокально-хоровых навыков на уроках музыки, строении певческого
аппарата и звукоизвлечения.
Ключевые слова:
вокал, хоровые навыки, аппарат, пение.
Music is an art form that occupies a wide place in our cultural life and plays an important
role in the development of human personality. Music education is one of the main and complex
aspects of the education of elegance, teaching people to correctly perceive and appreciate the
beautiful things around them. Music equips a person with high taste and forms a spiritual
worldview. Music has the ability to have a strong impact on human emotions, introducing students
to the world of elegance and is an important means of moral and ideological education. The
ancestor of our national culture, Abu-Nasir Al-Farabi, said: “This science is useful for the health
of the div.” Our grandfather, Sheikh Sa`di, said: “Music is the companion of the human soul.”
Music is a tool that actively develops emotional feelings that quickly affect a person. A
person gets acquainted with music through his mother, and finds pleasure and support from music
throughout his life. Music is an integral part of the human psyche. In order to receive various
nourishment from music, a person must be highly cultured, have a pure heart, be able to feel
beauty, and love his profession and his Motherland. Therefore, the main goal of music education
is to cultivate musical culture in students, which is a component of human spirituality. To achieve
this high goal, the tasks set for the music teacher are as follows: 1. To increase interest and love
for the art of music in students. 2. To develop artistic creativity and feelings in the process of
musical activities. 3. To educate students morally and aesthetically through the artistic and
ideological content of works. 4. In music lessons, it is necessary to carry out work such as instilling
in students a passion for the profession and labor. Singing in a choir is a complex psychological
and physiological process. Vocal and choral work in music lessons is the most active form of
teaching, moral and aesthetic education of students. Singing in a choir increases students' attention,
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develops memory, speech, expands the vocal range, develops musical education, the mutation
period passes more easily, and their worldview is formed from year to year. Vocal and choral skills
are of great importance in music lessons. Especially in choir lessons, students' attention, awareness
and activity increase, their musical memory develops well, and when they perform the learned
songs, a feeling of pleasure arises. When singing, creative performance cooperation increases and
they unite into a friendly team. With the help of vocal-choral skills, students deeply perceive the
meaning of the words and the melody of the song and learn life through the content of the work.
In order to achieve the results described above, it is necessary to form the following vocal-choral
skills and strictly adhere to them when singing in a choir. Because only with the help of vocal-
choral skills can a pleasant and harmonious, pure choral sound be achieved.
Vocal-choral skills are divided into 6 (six) types:
1. Singing posture in a lesson
2. Singing breath
3. Sound formation
4. Tuning 5. Ensemble
6. Pronunciation.
1. Singing posture refers to the sitting and standing posture of students in a lesson. It
consists of explaining to students how to hold their heads, arms and legs when singing while sitting
or standing, and constantly monitoring and reminding them. The rules of this skill include standing
straight without slouching, singing while sitting without leaning on the desk, slightly arching the
shoulders, not raising the chin too much, holding the neck and head correctly, lowering the arms
freely and placing the palms lightly on the knees without bending, and singing freely with the feet
shoulder-width apart.
2. Singing breath. It is known that there is a certain difference between breathing in singing
and physiological breathing. Physiological breathing begins to act naturally from the day a child
is born until the end of his life and occurs at a certain rhythm at a certain time interval. Singing
breath, on the other hand, occurs quickly, at short intervals, depending on the nature of the song.
Inhalation and exhalation are prolonged depending on the length, pace and expression of the song
phrase. Artificial breathing is used by actors, speakers and singers. Also, artificial, that is,
breathing taken according to need, is called singing breath.
There are the following types of singing breath: chest breathing; diaphragmatic breathing;
abdominal breathing. Since the chest of young children is still narrow and short, they breathe with
their chest, so it is natural for them to raise their shoulders, rush, and breathe in between sentences
and words when singing.
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Therefore, children should be taught to breathe calmly and steadily without raising their
shoulders and to continue to breathe in a rhythmic manner until the end of the sentence, especially
not to breathe in between words. In the process of working on the skill of breathing, children's
attention is drawn to the melodious, smooth, and pleasant sound of voices.
For this, they are taught to breathe calmly and quietly, as if smelling a flower. In the
implementation of this skill, it is formed in practical exercises such as singing vocal-choir exercises
recommended in textbooks and manuals, and listening to songs performed by children's choirs on
magnetic tapes. When children sing exercises and songs, they get used to breathing according to
the teacher's hand signals and to save it and bring it to the end of the sentence with grace. In
particular, the conductor's conditions are important for planning breathing, teaching singing by
following the "attention", "ouf", "beginning of the performance", "ending the performance".
Taking into account the possibilities of the volume of children's breathing, breathing points
are determined in advance in exercises and songs and implemented during the teaching process.
Voice production. The formation of a voice is a complex psychological and physiological
process. It is formed by the combined action of the vocal apparatus (larynx, larynx) and the two
conical vocal folds inside it, the respiratory (lungs, trachea, chest) and the auditory apparatus. The
sound produced in the throat is weak and hissing, resonating, its vibration through the speech
apparatus, especially the nasal cavity, increases and acquires a specific timbre and resonance. The
voice that is set to the musical tone in the interaction of the four organs - breathing, voice, speech
and auditory apparatus - is called the singing voice. In the 1st grade, students sing without straining
their voice, the primary (sol1-lya1), the working range (mi1-si1). The general range is (re1-do2),
and this should be followed within the norm. Children sing in a voice close to falsetto, based on
the head resonator. When children sing, it is necessary to start only with a soft intonation, never
start the song with a hard intonation. This must be controlled by the teacher.
Tuning. Tuning means that each child clearly perceives the given musical sound and sings
and maintains his voice in accordance with it. In other words, tuning means singing a sound of a
certain pitch with precise intonation. This is an important skill, because one of the main goals of
vocal and choral work in primary school is to achieve pure unison (singing in pure unison).
Therefore, systematic work is carried out on the development of tuning skills in children
from the first lesson. Particular attention is paid to children whose musical education is poorly
developed. They are encouraged to join the teacher's voice, the sound provided by the instruments
for the words, and the voices of gifted children and to equalize the pitch, that is, to equalize, and
intonation purity is achieved through exercises in which the words are sung at a uniform pitch.
Ensemble Ensemble is a French word that means together. It is one of the laws of the arts
of music, ballet, and architecture. In music, the joint performance of several performers is called
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an ensemble. For example: an ensemble of Uzbek folk instruments, a dance ensemble, a vocal
ensemble, etc. In a choir, the unity of voice, tempo of performance, rhythm-style, and dynamic
harmony of all singers is called a vocal-choral ensemble. An ensemble is divided into private and
general types. When all performers in a choir are tuned to one voice and all sing in one melody as
an ensemble, in two or three voices, it is called a general ensemble. The voice and ensemble of
each voice separately are called a private ensemble. The harmony of voice and ensemble requires
a long process of work, and only then can we achieve pure unison, which is our main goal.
Pronunciation Pronunciation in singing differs from speech pronunciation. Pronunciation
in singing is carried out through the active coordination of the articulation organs (lips, tongue,
jaw). Children's speech is weak, unclear, and as a result of straining the vocal apparatus, there are
defects in shouting and singing in the choir. Such children should be given increased attention and
spent a long time individually with them, encouraged to speak freely and sing without rushing. It
is necessary to teach them to breathe correctly and to complete the sentence, to stretch vowels and
sing consonants in a slow, even tone. In this, great importance should be attached to the shape of
the mouth, movements and changes of the tongue. Most importantly, children should be taught to
pronounce the text of exercises and songs in accordance with their vocal styles.
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