Авторы

  • Шокиржон Отабеков
    Преподаватель, Наманганский государственный университет, Наманган, Узбекистан

DOI:

https://doi.org/10.47689/2181-1415-vol3-iss5/S-pp255-262

Ключевые слова:

хор вокал мелодия песня метод традиция учитель школа ученик музыка навыки интерес ансамбль выставка наука звук

Аннотация

В данной статье представлена подробная информация о реформах в области культуры и искусства после обретения независимости Республики Узбекистан, анализируются возможности учителей привлекать учащихся к урокам музыки с использованием разных методов.


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Жамият

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инновациялар

Общество

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Society and innovations

Journal home page:

https://inscience.uz/index.php/socinov/index

Methods of using pedagogical technologies in music
teaching

Shokirjon OTABEKOV

1

Namangan state university

ARTICLE INFO

ABSTRACT

Article history:

Received April 2021
Received in revised form

28 April 2022

Accepted 20 May 2022

Available online

10 June 2022

This article provides detailed information on the reforms in

the field of culture and art after the independence of the

Republic of Uzbekistan, the ability of teachers to engage
students in music lessons using different methods, the methods

of organizing lessons by the teacher.

2181-

1415/©

2022 in Science LLC.

DOI:

https://doi.org/10.47689/2181-1415-vol3-iss5/S-pp2

55-262

This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)

Keywords:

chorus,

vocals,

melody,

song,

method,

tradition,

teacher,

school,

student,

music,

skill,

interest,

ensemble,

exhibition,

science,

sound.

Musiqa ta

limida pedagogik texnologiyalardan foydalanish

metodlari

ANNOTATSIYA

Kalit so‘zlar

:

xor,

vokal,

kuy,

qo

shiq,

metod,

Ushbu maqolada Oʻzbekiston

Respublikasi mustaqillikka

erishgandan keyin madaniyat va san

at sohasidagi islohotlar,

oʻqituvchilarning har xil metodlardan foydalanib, musiqa dars

-

lariga o‘quvchilarni qiziqtira olishi hamda darslarni tashkil etishda

qoʻllanadigan metodlar haqida

batafsil ma

lumot berilgan.

1

Teacher, Namangan state university. Namangan, Uzbekistan. E-mail: shokirjonotabekov041@gmail.com.


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an

ana,

oʻqituvchi,

maktab,

oʻquvchi,

musiqa,

malaka,

qiziqish,

ansambl,

koʻrgazma,

fan,

ovoz.

Методы использования педагогических технологий

в обучении музыке

АННОТАЦИЯ

Ключевые слова:

хор,

вокал,

мелодия,

песня,

метод,

традиция,

учитель,

школа,

ученик,

музыка,

навыки,

интерес,

ансамбль,

выставка,

наука,

звук.

В данной статье представлена подробная информация о

реформах в области культуры и искусства после обретения

независимости Республики Узбекистан, анализируются
возможности учителей привлекать учащихся к урокам

музыки с использованием разных методов.


The Uzbek Center for the Study of Cultural Heritage Abroad and the Center for New

History of Uzbekistan are being set up. Great attention is paid to the development of
reading culture, culture and art, and creative schools and centers named after our great
artists are being established in the regions. Systematic measures are being taken to
further popularize folklore and amateur arts, and to develop innovative areas of culture
and the arts.

In this regard, President Shavkat Mirziyoev

said, “If culture and art do not develop

in the country, society will not develop. It is important to develop the field of culture and
arts, to increase the prestige of the Uzbek national culture and art in the world, to realize
the potential of young talents. Indeed, when art and culture live, the nation and the

people, the whole of humanity, live in peace”

[1]. Over the past period, the Republic of

Uzbekistan has adopted a number of normative and legal acts on the development of
culture and arts. In particular, the Resolution of the President of the Republic of
Uzbekistan No. PD

–3391 of November 17, 2017 “On measures to further develop the art

of the Uzbek national maqom”, August 26, 2018 Resolution No. PD–3920 “On measures

for innovative development of t

he arts ”, Resolution No. PD–

4038 of November 28, 2018

“On approval of the Concept of further development of national culture in the Republic of
Uzbekistan”, 2019 Resolution of the Cabinet of Ministers of the Republic of Uzbekistan


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No. 1019 of December 19,

2019 “On approval of the Program for improving the activities

of museums in the Republic of Uzbekistan in 2020-

2021”, November 23, 2019 Resolution

of the Government of the Republic of Uzbekistan dated July 26, 2019 “On approval of the

activities of the Erkin Vahidov Memorial Museum and the Treasury House-

Museum”

Resolution of the Cabinet of Ministers No. 630 [2] of May 30, 2019 “On the organization

of the activities of the state museum-

reserves Sarmishsay”, “Shakhrisabz”, “Termez” and “

Kokand” Resolution

of the Cabinet of Ministers of the Republic of Uzbekistan No. 443 of

April 21 [3], 2020 “On measures to further increase the efficiency of the fine and applied
arts” Resolution No. PD–4688 of May 26, 2020 “Culture Decree No. PD

-6000 of May 23

[4], 2020 “On

measures to further enhance the role and influence of the arts insociety”

Resolution of the Cabinet of Ministers of the Republic of Uzbekistan No. 325 of June 9,

2021 and “Martyrs’

Memory” Resolution of the Cabinet of Ministers of the Republic of

Uzbekist

an No. 357 of February 2, 2022 “On support of the Moat Fund” The normative

legal acts adopted, such as Resolution No. PD

112 of the President of the Republic of

Kazakhstan [5] are becoming increasingly important. Adoption of the above-mentioned
normative legal acts is a complex measure to raise the spiritual and educational level of the
people in the Republic of Uzbekistan, to strengthen the material and technical base of
cultural and art institutions, to support the industry. The attention paid at the state level to
the development of national culture in the construction of a new Uzbekistan is of great
importance. In this regard, the President of the Republic of Uzbekistan Sh. According to

Mirziyoyev, “The level of development of our people is assessed prim

arily by our national

culture. In this sense, culture is the image of our people, our society. As we begin to create a

new image of Uzbekistan, we must begin with the development of our national culture” [6].

The following system of music education was introduced in Uzbek schools. There

are separate but interrelated types of syllabi:

Introductory lesson on the topic;

In-

depth lesson;

a lesson on the topic;

final lesson

concert. The analysis of the music

education system and the generalization of its positive aspects allow the development of
new types of music lessons. The use of new pedagogical technologies to make music
lessons more interesting in line with modern requirements is yielding good results. To
make the lessons more interesting, exciting, and uplifting, we offer the following types of
lessons: Each of these lessons has its own structure, function, and methodological basis.

When games are taught in the elementary grades in a playful way, students

become more active and are more likely to complete tasks. For example, on the topic of
musical instruments, students are given cards with pictures of different musical
instruments. The teacher uses a tape recorder to record music played on an instrument.
Pupils use the cards in their hands to show how the piece is played. The most active
students will be evaluated and rewarded. For example, quiz

lesson, concert

Classes

are based on students

knowledge.

The lesson is based on a videotape of a nature trip and a musical trip to the city.

Some of the most widely used types of courses are: Organizational lessons. Mixed lessons.
Dominant (one type of activity in the classroom

singing, listening to music, music

literacy, musical creativity

is more important than others. Control-inspection lessons.

Complex lessons. Interview lessons. Defense lessons. Closing lessons.

Today, due to modern requirements, non-traditional types of lessons are entering

the music education system. Based on the available pedagogical technologies, we have

developed several non-traditional types of lessons that can be used in music education.


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Let’s take a look at each type of lesson. Concert lessons –

students

practical application of

existing musical-theoretical knowledge, assessment of their own and others

knowledge,

learning to behave on stage, formation of team singing and solo skills, participation in

children

s musical instruments, creates a wide range of possibilities for being, performing

dance elements, and so on. It is advisable to hold such classes mainly at the end of one

term and at the beginning of another. Because in this type of lesson, students will have a

concert

based on the songs they have learned during the quarter. Such classes provide

ample opportunity to assess and assess students’ kn

owledge. The lesson is planned in

advance.

Students prepare songs that they have learned. The teacher should have assigned a

task to each student in the previous lesson. Classes begin with everyone singing the

national anthem together. The importance of these lessons is that students use all their

creative abilities and performance skills. Classes like these help students develop their

musical tastes and worldviews. Students will also develop stage manners, artistry, team

singing, and independent initiative [7].

The lessons are organized according to a specific system, with the teacher

distributing the songs to the students before the lesson and the songs to be performed

after each lesson. In such classes, the teacher will be able to assess almost all students.

Dressing for the concert in accordance with the content of the songs will increase the

interest of students and increase the effectiveness of the lesson. Concert classes should

allow students to use all their knowledge and talents. For example, when someone sings a

good song, someone chooses to dance, and someone has a strong acting ability. The

teacher should be alert and organize a concert, taking into account the wishes and

abilities of each student. Concerts can also be dedicated to the birthday or work of a

composer or writer. The concert will feature works by the artist, and teacher or student

quizzes will focus on listening to music.

The teacher uses a technical instrument to play music for the students. Any

beginner will tell you about the life and work of the author. Students, in turn, will find the

name, performer, and composer of the music. Such lessons are entitled “Composer,

performer and listener”. Students, in turn, will find the name, performer, and composer of

the music. Classes like these are great for Composers, Performers, and Listeners. In such

classes, the teacher divides the students into groups. Each team will be awarded based on

their activity and correct answers. Quiz lessons can be used by students not only to listen

to music, but also to sing. It also teaches students to have an understanding of the

creators of musical works

composers, poets and performers.

These lessons can be tailored to each topic. For example, when a teacher teaches

students the music of fraternal peoples, listening to the music of different nations and

peoples and identifying which nation and ethnic group they belong to develops students’

musical understanding. They learn to distinguish between the music of other nations.

Their musical worldviews are also taking shape. Quiz lessons form the basis for the

formation of musical taste, musical perception and musical outlook. Debate classes focus

on in-depth analysis of musical works, knowledge of music literacy

music theory, music

literature, analysis of musical works, forms of music. This type of course is based on a

quarter or six months of music theory [8].

Debate classes are based on students’ previous knowledge.

It is a lesson organized

to explain the impossible, to come to an agreement on controversial views, and on this

basis to help students to acquire knowledge independently, to form musical thinking,


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musical perception, musical culture. Debate classes are different from other classes in

that they are unique. So, in this lesson, there will be a debate on an issue. Teachers and

students share their thoughts. In such lessons, the debate is strong and each opinion is

substantiated and the best option is accepted. Debate classes require a great deal of

preparation on the part of the students. These lessons help students to respond quickly,

to think independently, to take a creative approach to events, and to deepen their speech.

Students in the classroom experience different impressions of a piece of music.

Therefore, sharing their thoughts will allow them to enrich their thinking and

imagination. Debate lessons are also of great pedagogical importance.

It is one of the most important tools in cultivating students’ aesthetic feelings, as

well as in terms of their suitability for the age characteristics of students. The topic of
discussion is chosen by the content of the curriculum and the teacher. The wishes and
interests of the students should be taken into account. Discussion questions are written
by the teacher and the students are invited to discuss. The teacher engages the students
with questions and helps the students to have consistent and clear answers. Debate
classes help students to speak clearly and fluently, and to develop a culture of
communication. The organization of such lessons brings the teacher and students closer
to each other, creates a friendly atmosphere, increases the effectiveness of the acquisition
of musical knowledge. Organizing such classes requires teachers and students to follow a
number of rules during the lesson:

From students:

express their opinions clearly and without haste;

show respect to the interlocutors during the discussion;

etiquette (raising hands and answering in turn);

Do not interrupt other students;

listen carefully to the opinions of interlocutors;

not to deviate from the topic;

try to participate in the discussion, even if it is wrong;

Prove your point with evidence. From the teacher:

Involve students in the discussion;

be able to engage students;

Explain and correct students’ mistakes;

systematize students’ ideas;

Encourage active participation.

The main purpose of the Cheerful and Clever Lesson is to test students ‘knowledge

in class, to reinforce it, to monitor their extracurricular knowledge, to direct them

towards a specific goal, and to form students’ ability to communicate with musical works.

The competition is organized in the form of a competition, which allows you to get
acquainted with the work of the composer or the history of the musical work. In such
lessons, the skills of the composers, the musical instruments embedded in the works they
create, the interest in mastering them, and the habit of independent observation are also
important. The purpose of the lesson is to develop in students the qualities of activity,
resourcefulness, intelligence and alertness. Cheerful and clever lessons are one of the
most unusual forms of music lessons that allow students to have fun and actively
participate. Cheerful and clever lessons can be taught in several ways.


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Repetition of topics, singing, question-answer, identification of musical

instruments, interpretation of the content of the listened musical works, organization in
the form of various didactic games on memorization of works can be a method of such
lessons. possible. The teacher should prepare for the lesson cheerfully and cleverly. He
should prepare the questions in advance and plan in advance what teaching methods will
be used in the lesson. There are many opportunities to play music in such classes. For

example, “Find the tune!”, “Square of Miracles”, “Ohanrabo”, “Bravo girls!”, “Bravo boys!”.

The effectiveness of the lessons can be increased by organizing lessons such as. Cheerful
and resourceful classes should be held at the end of the school year, at the end of the
quarter, at the end of each section of the plan. In such classes, the students in the class are
divided into two groups, girls and boys, which can be between rows, parallel classes. A
captain is elected for each team. Two rival teams will test their knowledge. Students who
actively participate will be encouraged. In such classes, the school administration should
plan in advance the use of other science methods. The fun and smart lesson should be
announced to the students a week before the event.

The terms of the competition should be based on previous lessons. During the

week, students review and reinforce the information they need to know and work on it.
Knowledge of musical scenes, songs, and other musical literacy is summarized.

Students’

scores for each condition are recorded on the board and in the jury’s special notebooks.

At the end of the class, points will be summarized and announced, and the winning

team will be rewarded. The process of preparing for such lessons becomes a unique
learning process for students

knowledge, repetition and consolidation, research and

management, and the acquisition of musical theoretical knowledge in general. Cheerful
and clever lessons, educational puzzles, puzzles, mystery assignments, and a variety of
activities keep students accustomed to thinking, and prevent boredom, stress, and
exhaustion. In these classes, the teacher also gives students the opportunity to get to
know and test their students in many ways: their attitudes towards their peers, their
culture of behavior, how they behave in different situations, and other behaviors and
habits.

When organizing a lesson on cheerfulness and intelligence, the teacher should pay

attention to the following: the content and essence of the studied topic, the expected
purpose and tasks to be performed, the level of knowledge and interests of students.
Lesson planning, cheerful and resourceful students, informing students about the topic of
the lesson and the day of the lesson a week in advance; Preliminary preparation of
questions and assignments in the course of cheerful and clever, keeping the answers
secret, to ensure that they correspond to the topic of the program, to determine and
approve the terms of the competition in consultation with everyone, to agree on the
number of participants, the time allotted for each condition, to ensure that games and
activities in the cheerful and intelligent class are appropriate for the age of the students,
to achieve an objective, fair and just assessment of the conditions, to encourage the losing
team without discrimination.

The analysis course focuses on a thorough analysis of the work done in the process

of music literacy, listening to music, and singing. Already a detailed analysis of the work,
ie information about its authors, the tempo, rhythm, size, mood, tone, dynamics, shape of
the work, to determine for which group or orchestra it was written, to determine the
genre, its ideological essence , the study of artistic image provides the basis for the


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acquisition of musical-theoretical knowledge through the work. How to organize and
conduct an analysis lesson depends on the creativity of the teacher. Such lessons are
primarily practical. Analysis classes teach students to think freely, to think, and to solve
problems. Conversation classes are one of the most important tools for a lively and fun
musical learning process.

Conducting and conducting lessons in the form of conversations requires creative

research from the teacher. Conducting a conversation based on a well-structured, goal-

oriented approach is a key determinant of a teacher’s skills.

During the conversation, the

student learns to think independently and to express himself. An effective, engaging

interview requires the teacher’s skill to be able t

o ask questions and choose the right

ones. Conversation classes are one of the most effective ways to test your musical
knowledge.

The effectiveness of conversational lessons depends on the interlocutors’

clear and concise understanding of the topic, and the clarity and clarity of the questions
asked during the interview. Questions are asked orally and answered in the same way.

The teacher monitors the students’ answers and corrects them if necessary

[9].

You can talk about an independently studied song, a piece of music you have

listened to, a concert you have seen, or a musical show. The teacher must have mentioned
the topic in advance. The teacher asks the prepared questions and the students begin to
answer. Incomplete answers will be filled in by other students. The teacher directs the
conversation and ensures that the students are actively involved. In conversation classes,

the teacher’s responsibilities include: Prepare interesting and vital questions for a

structured conversation. Make sure the questions cover the whole topic. Encourage
students to express themselves freely. Make sure the questions are systematic and
consistent. Involve all students in the conversation. Get to know each other with respect
during the conversation. Be a role model for students. Summarize ideas and draw
conclusions. Music travel lessons are organized to explore the sources of musicology, to

explore the work of a composer, to travel to the composer’s home museums, concerts,

music festivals, music competitions, or to make a video tour of a theme. One of the
important conditions is that the travel objects are directly related to the subject of the
lesson. This, in turn, is more effective than classroom lessons and stays in the minds of
students for longer. It shapes their musical worldview, musical thinking and arouses
their musical and aesthetic feelings.

Such classes increase students’ respect and love for

the subject and the teacher.

The teacher and the students begin to understand each other better and become

closer spiritually. Music tour classes are subject to certain conditions. It depends on
whether there is a concert or competition in the city or region, whether there is a video
or a computer in the classroom. The teacher collects a series of questions in specially
prepared envelopes. Team leaders take turns selecting envelopes and responding in
agreement with their teams. Each question is given a set amount of time to prepare. The
team with the highest score at the end of the class will be evaluated with the highest
score in the rating system. The rest of the team participants will be evaluated with lower
scores according to their answers, and so on.

Classes like this increase students’ interest

in the lesson and make them more active. Classes around the table are very similar to the

TV game “Zakovat”. The teacher should choose the questions based on the age of the

students and the topic of the lesson.


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REFERENCES:

1.

O.R. Topildiyev

Theoretical & Applied Science, 2019 elibrary.ru. Formation of

tolerance in the youth. 267

270 pages.

2.

Abdurauf A., Feruza M., & Amirbek A. (2020). The Formation of Museums and

Innovative Achievements in Uzbekistan. JournalNX, 6 (05), 14

16.

3.

htpp //www.lex.uz 4. Mirziyoev Sh.M. New Uzbekistan strategy.

Tashkent.

Uzbekistan Publishing House, 2021.

280 pages.

4.

Mirhakimova F.K. (2021). The state museum of history and culture of Namangan

region past and today. Asian of Multidimensional Research, 10(8), 84

89.

5.

Mirhakimova F., & Aliyeva N. (2020). Architecture of the Ismaili Samanid

PERIOD.

Интернаука, (18

-3), 12

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6.

O.R. Topildiyev

Current research journal of

…, 2021 –

masterjournals.com. The

process of spiritual education of youth. 78

82 pages.

7.

Karomatov F. Uzbek folk music heritage.

T.: Teacher, 1978

P. 54.

8.

Gudkova Ye., Vasileva A. Methodology of Ashula textbook.

T.: Teacher, 1983

P. 32.

9.

Fitrat A. Uzbek classical music and its history.

T.: Science, 1993

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Библиографические ссылки

O.R. Topildiyev – Theoretical & Applied Science, 2019 elibrary.ru. Formation of tolerance in the youth. 267–270 pages.

Abdurauf A., Feruza M., & Amirbek A. (2020). The Formation of Museums and Innovative Achievements in Uzbekistan. JournalNX, 6 (05), 14–16.

htpp //www.lex.uz 4. Mirziyoev Sh.M. New Uzbekistan strategy. – Tashkent. Uzbekistan Publishing House, 2021. – 280 pages.

Mirhakimova F.K. (2021). The state museum of history and culture of Namangan region past and today. Asian of Multidimensional Research, 10(8), 84–89.

Mirhakimova F., & Aliyeva N. (2020). Architecture of the Ismaili Samanid PERIOD. Интернаука, (18-3), 12–14.

O.R. Topildiyev – Current research journal of…, 2021 – masterjournals.com. The process of spiritual education of youth. 78–82 pages.

Karomatov F. Uzbek folk music heritage. – T.: Teacher, 1978 – P. 54.

Gudkova Ye., Vasileva A. Methodology of Ashula textbook. – T.: Teacher, 1983 – P. 32.

Fitrat A. Uzbek classical music and its history. – T.: Science, 1993 – P. 19.