Жамият
ва
инновациялар
–
Общество
и
инновации
–
Society and innovations
Journal home page:
https://inscience.uz/index.php/socinov/index
History of vocal chamber performance
Muslim MUKHAMMADIEV
1
Namangan State University
ARTICLE INFO
ABSTRACT
Article history:
Received April 2023
Received in revised form
15 May 2023
Accepted 25 May 2023
Available online
15 June 2023
This article considers the attention to art, culture, the history of
vocal singing, the basics of the art of vocal singing, the artists
who contributed to the development of vocal singing in the
Republic of Uzbekistan, and their activities.
2181-
1415/©
2023 in Science LLC.
https://doi.org/10.47689/2181-1415-vol4-iss4/S-pp39-43
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:
art,
academic singing style,
vocal,
performance,
folk songs,
education,
music,
melody,
opera,
tradition,
culture
Vokal xonandalik ijrochiligi tarixi
ANNOTATSIYA
Kalit so‘zlar:
san’at,
akademik kuylash uslubi,
vokal,
ijro,
xalq qo‘shiqlari,
tajriba,
musiqa,
ohang,
opera,
an’ana,
madaniyat
Ushbu maqolada O‘zbekiston Respublikasidagi san’at,
madaniyat sohasiga bo‘lgan e’tibor, vokal xonandalik
ijrochiligining tarixi, vokal xonan
daligi san’atining asoslari,
vokal xonandalik sohasining rivojlanishiga hissa qo‘shgan
san’atkorlar va ularning faoliyati haqida batafsil ma’lumot
berilgan.
1
Teacher, Namangan State University
Жамият
ва
инновациялар
–
Общество
и
инновации
–
Society and innovations
Special Issue
–
04 (2023) / ISSN 2181-1415
40
История деятельности вокальной камеры
АННОТАЦИЯ
Ключевые слова:
искусство,
академический певческий
стиль,
вокал,
исполнительство,
народные песни,
образование,
музыка,
мелодия,
опера,
традиция,
культура.
В этой статье подробно рассказывается о внимании к
искусству, культуре, истории вокального пения, основах
искусства вокального пения, артистах, внесших
вклад в
развитие вокального пения в Республике Узбекистан, и их
деятельности.
Introduction.
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 developing the art of Uzbek national makom”, August 26,
2018 Resolution No. PD -
3920 “ On measures for innovative development of the 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”, is becoming increasingly
important.[1]
Main part.
While studying the basics of the art of vocal singing in Uzbekistan, and its specific
features, we should look at the history of world schools of vocal singing. In our republic,
the vocal academic style of singing relied mainly on the experience of the Russian singing
school and has reached its current position. In its place, the branches of Russian vocal
academic singing - concentrated the unique intensity of Russian folk songs, the narrow,
sometimes wide, and rich meaning of the melody. Having acquired its uniqueness and
relevance, the Russian singing school has absorbed rich achievements of vocal academic
singing schools in Italy, France, and Germany, Poland, Hungary, as a whole. In particular,
we should mention with pride the name of G. Lamakini, who contributed to the
development of such high performance. The works “Method of
singing-
1” and “Method of
singing-
2” were created by him in 1837, as well as “School of Singing” published by F.
Evseev in 1833, works such as “Complete School of Singing” by A. Varlamov in the
modern traditions of performance, it can be seen that it is harmonious and closely related
to the principles of singing.[2]
The composers of the period up to Glinka, who made a great contribution to the
development of the Russian singing school, are also considered the authors of the first
vocal works. These are D. Bortnyanski, A. Verstovski, and A. Gurilyov. However, the
works that show fully nationalism and true Russian color can actually be seen in Glinka’s
work. Glinka is the founder of the school of Russian classical singing. This was caused by
the premiere of th
e opera “Ivan Susanin” on November 27, 1836. [3] While preserving
the traditions of national music, Russian composers brought new intonations, methods,
and harmonies to it, which influenced greatly the development of singing music and set
Жамият
ва
инновациялар
–
Общество
и
инновации
–
Society and innovations
Special Issue
–
04 (2023) / ISSN 2181-1415
41
new tasks for singers. It should be noted that the musical expression of the Russian
school of singing is characterized by the versatility of its styles and the wide use of high
voice possibilities in performance. A person with these styles can sing perfectly in all
languages. It is of great importance to use the breath, to work with the palate, that is, to
be able to use the resonator, to pay high attention to the text, and to create an artistic
reality.
Unlike other national singing schools of vocal art, the Russian singing school
incorporated and developed the Italian bel canto style. The main reason for this is the fact
that the vowels in the Russian language are similar to those of the Italian and Ukrainian
languages. In the academic direction of vocal singing, representatives of all nationalities
can sing, but there is always a change in pronunciation. L. Dmitriyev, a famous Russian
academic specialist in vocal singing pedagogue, describes that “the tongue has an effect
on the vibrational work of the vocal cords, and not only has an effect, it also plays a major
role in the work of the larynx”. It is easier for a talented vocal singer to sing in an
academic direction than it is to sing in a national direction. There are singers who sang in
these two directions in Uzbekis
tan, such as people’s artists K. Zokirov, N. Khoshimov,
S.Yarashev, A. Azimov, S. Kobulova, and others. It is permissible to mention their names
with pride. Because these singers are considered great performers who built the
foundation of Uzbek vocal performance.
Russian professional music played an important role in the development of the art
of singing. Glinka said, “People create music, composers polish it”. Indeed, Russian folk
songs became a source of inspiration for Russian composers. Based on it, the first Russian
operas appeared on the stage. Russian opera art was founded, and the first opera was
created.[4] Prayers and psalms, which were constantly sung in churches in Russia, gave a
great impetus to the development of Russian professional singers. The full adoption of
Christianity in Kievan Russian created a need and demand not only for religious workers
but also for singers with musical literacy. In schools near monasteries, singers tried to
learn musical literacy fully. Ancient Russian church music was based entirely on
unaccompanied singing. It is forbidden to play music. In this way, he played an important
role in the birth and development of Russian folk songs and church singing, singing
culture, and professional academic performance. In the middle of the 17th century and
the beginning of the 18th century, there were the first attempts to establish musical
theaters in Russian art. During Peter’s reign, a group of 7 actors led by Kunst was invited,
and for the first time performances including arias and ariozos began to be shown to the
public. In 1735, the Italian opera troupe led by F. Arayya was invited to Russia for
permanent activity. Italian opera began to take root on Russian soil. [5] During this
period, opera entered Russia as a completely new art form, while in Italy, this art was
performed for half a century and managed to cover not only the local population but the
whole of Europe.
It is no exaggeration to say that opera as a new genre was born under the influence
of the European cultural Renaissance. The polyphonic style characteristic of those times
did not allow the singer to express his feelings, but the words were lost in the polyphonic
music, becoming meaningless and incomprehensible. A group of advanced musicians
returned the homophonic style to their works and showed that music should be based on
words. On the basis of this research, operas, cantatas, and works for solo voices were
created in the form of a new musical homophone, which brought to fruition unique
Жамият
ва
инновациялар
–
Общество
и
инновации
–
Society and innovations
Special Issue
–
04 (2023) / ISSN 2181-1415
42
research of Russian vocal art. At the time when Italian opera was coming to Russia,
Italian bel canto - high singing skills - was entering its second period. It was the period of
mastery in the art of unique castrato singers who reached the peak of their unique
singing.
The great development of Italian academic singing art did not fail to influence the
development of musical and singing art in other countries. Considered a masterpiece of
the West, the opera entered Russia at one time, but in the past, it was accepted by the
courtiers with great difficulty. Serious opera was boring, and skillful singing was unusual.
More importance was attached to the performance of choral music. This is not surprising,
because before the emergence of Italian opera, choral art had already reached its climax.
The choir developed at a high level and had a number of fans. In no European country did
choral works have such a large number of admirers and performing schools.
Composer Araya worked in Russia for 25 years. [6] During the time of Elizaveta
Petrovna, people were forced to go to the opera. By the time Catherine, going to the opera
became a favorite cultural pastime. Learning music and singing was considered an
important part of education. Decrees regulating the training of local singers and
musicians were passed, and his supervision was taken seriously. By this time, different
singing schools began to appear one after the other. One such singing school was
“Glukhov Singing School”. Along with studying the art of religious singing, secular singing
also began to be studied here.
The first vocal works of Russian composers coincided with a period of increasingly
conflicting opinions. Because of this, most of the courtiers prevented the development of
new art. Figures of Russian culture made an incalculable contribution to the creation of a
new opera.[7] The new art was against the national democratic and in some cases the
Serf system. This description of operas is due to the fact that the authors who created
them were former serfs or people from the lower class. These are E. Fomin, M.
Sokolovski, M. Matinski, D. Kashin and others.
Russian opera singers were unique. However, the influence of the Italian singing
school on Russian singing performance was undoubtedly great. As a result, by the 30s of
the 18th century, performers of Italian vocal music began to make creative trips to Russia
every year. Russian singers have learned to create long tones in the voice, coloratura
sound, and other technical methods, relying on perfect breathing.
The composers who created the national opera in Russia were the first teachers
who taught singing. Evstigney Fomin is the author of the national opera “Coachmen on
the Base”. Ivan Alekseevich Rutin, who prepared M. Stepanova, I. Samoilova and O.
Petrova for the opera stage, was one of the best teachers.
Composer Bortnyanski performed a great pedagogical activity in the singing chapel
near the palace. The simple melody of his works, the absence of high notes, and the
comfortable tessitura in creating sound helped the voice to develop. This has gained
great importance in the development of the art of singing. At the end of the 18th century,
composer, conductor, and singing teacher Katerino Cavaso made a great contribution to
the formation of Russian singing pedagogy. He trained not only performers but also
expert teachers. These were Kovalyova, Shelekhov, Turik, and others.
The artistic activity of Russian singers is also important in the establishment of the
foundation of the Russian singing school and played a very important role in the spread
of this field. Actors A.Mikhailova, N.Semyonova, A.Krutitskaya, Y.Vorobyova, N.Zlov,
Жамият
ва
инновациялар
–
Общество
и
инновации
–
Society and innovations
Special Issue
–
04 (2023) / ISSN 2181-1415
43
N.Lavrov, were able to amaze the audience with their excellent talent, voice technique,
aspects of stage skills, and meaningful performance and it is impossible not to mention
the names of others.[8] In the second quarter of the 18th century, when the formation of
the performance style of Russian singers and the promotion of composers' programs
were mentioned, A. Verstovski, the head of the Moscow Grand Theater, cannot be
forgotten. Verstovski believes that melody is the main factor in the creation of an image -
a simple, broad, and meaningful melody. Verstovski’s operas shaped the style of Russian
singing, and trained singers in the national spirit.
The formation of the performance style of Russian singers was also influenced by
the fact that they performed the French opera program. In the middle of the 18th century,
a French troupe was invited to Russia. Romances also played an important role in the
development of the art of singing. G. Teplov and F. Dubyanski - authors of the first
Russian novel. O. Kozlovski was a great representative of Russian composers who created
the field of chamber singing. The period of creative activity of a group of talented
comp
osers called “Delitant” dates back to the beginning of the 19th century. Titov is a
representative of this group. The works written by the masters of Russian romance A.
Alyaboev, A. Varlamov, A. Gurilyov, and N. Bulakov under the influence of folk songs and
urban romances were able to captivate the performers with their simplicity and
closeness to the heart. Thus, the art of singing went through a very difficult and necessary
stage during its 100-year period, from the introduction of Italian opera to the creation of
the first Russian classical opera “Ivan Susanin”.
Conclusion.
Russian singers studied the technique and culture of the Italian and French schools
and remained loyal to the national performance. We can clearly see the factors that
describe the main characteristics of the Russian national singing school in the works of
singers who created it during its heyday, at the end of the 19th century.
REFERENCES:
1. Mirhakimova F. Activity of Mutal Burkhanov House Museum //CENTRAL ASIAN
JOURNAL
OF
SOCIAL
SCIENCES
AND
HISTORY.
–
2022.
https://scienceweb.uz/publication/4566
2. Yunusov R. Basics of traditional Uzbek music. Text of lectures. Tashkent. 2000 -
P.15.
3. Karomatov F. The musical heritage of the Uzbek People (in the twentieth
century) 1 volume. Book 1. Song. Tashkent, 1978.- P. 45.
4. Akbarov I. Dictionary of music. Tashkent. 1987.- P. 16.
5. Fosilov J. and others. Formation of the student’s spirituality. T.
2000.
–
P. 18.
6. S. Begmatov. “The art of security”. Study
- methodical manual. 2007.
–
P. 13.
7. Yunusov R. Basics of traditional Uzbek music. Text of lectures. Tashkent. 2000. -
P.53.
8. Artikov T. Music teaching methodology. T. 2012.
–
P. 26.
