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Peculiarities of formation and development processes of
choral art in Uzbekistan
Turgunpulat DAVLATOV
1
Namangan State University
ARTICLE INFO
ABSTRACT
Article history:
Received September 2022
Received in revised form
25 October 2022
Accepted 20 November 2022
Available online
25 December 2022
In this article, the history of the origin and development
processes of choral art in our country, the ability to
demonstrate fully moral qualities, creative enthusiasm, and
talents of pupils and students based on musical education
activities. The role of choral art in production is given in detail.
2181-
1415/©
2022 in Science LLC.
https://doi.org/10.47689/2181-1415-vol3-iss11/S-pp4
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:
choral art,
culture,
art,
teacher,
lesson,
qualification,
upbringing,
tradition,
literature,
music,
method,
school,
theater,
sheet music,
work,
analysis.
O‘zbekistonda xor san’atining shakllanishi va rivojlanish
jarayonlarining o‘ziga xos hususiyatlari
ANNOTATSIYA
Kalit so‘zlar
:
xor san’ati,
madaniyat,
san’at,
o‘qituvchi,
dars,
malaka,
Ushbu maqolada yurtimizda xor san’atining kelib chiqish
tarixi va rivojlanish jarayonlari, o‘quvchi va talabalarning
yaratuvchanlik qobiliyatini axloqiy fazilatlarini, ijodiy
ko‘tarinkiligini, iste’dodlarini to‘la namoyon eta olish fazilati
-
musiqiy ta’lim faoliyati asosida ro‘yobga chiqarishda xor
san’atining o‘rni haqida batafsil ma’lumot berilgan.
1
Teacher, Namangan State University.
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tarbiya,
an’ana,
adabiyot,
musiqa,
metod,
maktab,
teatr,
nota,
asar,
tahlil.
Особенности процессов становления и развития
хорового искусства в Узбекистане
АННОТАЦИЯ
Ключевые слова:
хоровое искусство,
культура,
искусство,
учитель,
урок,
мастерство,
воспитание,
традиция,
литература,
музыка,
метод,
школа,
театр,
ноты,
произведение,
анализ.
В данной статье рассмотрены история зарождения и
процессы развития хорового искусства в нашей стране,
умение в полной мере проявить нравственные качества,
творческий энтузиазм, таланты учащихся и студентов,
основанные на музыкально
-
воспитательной деятельности,
подробно дается хоровое искусство в постановке.
The cultural development of society is closely related to the development of its
spiritual and moral foundations. Achieving the commonality of universal human values
lies in the formation of the spiritual and aesthetic culture of all youth of our republic.
Personally, it is impossible to fulfill tasks in social, economic, cultural aspects, to fully
create the national tradition of independence without enriching aesthetic taste and
thinking. The highest goal of our independent society is to bring up a highly qualified and
mature generation that fully meets the requirements of the time. The highest standard of
perfection is determined by the ability of a person to be truly spiritual and enlightened.
In the process of musical education, musical thinking leads to the formation of cognitive
processes, imaginations, concepts, and categories. By listening and playing music, a
person reflects his inner feelings and real events. A person knows the musical world
through his soul, and then puts them into forms through musical creativity to convey
them to other listeners. After all, we are surrounded by natural phenomena, objects,
musical choral works created by man, melodies and songs, and the sound of tones in
songs. This world has a positive effect on human emotions with its extremely diverse
sound timbres, colors and colors. The complex of musical tones and sounds is reflected in
the human senses. The virtue of being able to demonstrate fully the creativity, moral
qualities, creative enthusiasm, and talents of pupils and students is realized on the basis
of musical educational activities. These qualities serve to ensure the perfection of future
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music teachers. This is inextricably linked with continuous improvement of the activity of
conscious effective participation in the process of musical activity. The qualities of being
able to express fully morals, manners, creative enthusiasm, and talents are realized
through careful and perfect study of the basics of musicology. This includes choral
conducting, choral class, choral literature, choral score reading skills, music theory,
harmony, solfeggio, polyphony, musical analysis, pedagogic psychology, physiology of
children and adolescents, mastering and conducting the basics of choral art.
As a result of mutual harmony of literary and musical creativity in choral art,
beautiful a is created. This art is related to the art of folk singing and has played an
important role in the formation and development of the national music culture of other
nations. In the sister republics, which did not have professional choir performances in
the past, it was formed in its own ways. These people began to create new directions of
choral art based on national traditions. According to some reports, there were
professional choirs in the Sogdian states [1]. Later, after the Arab conquest, this art did
not develop. Since ancient times, the destruction of clan society and the transition to a
class society, the emergence of the Bactrian, Sugdian, and Khorezm states, the
Achaemenid military campaigns, administrative unification, the creation of the Greco-
Bactrian kingdom of Alexander the Great, BC VII includes historical period from the
1st century to the 4th century AD. Heroic legends and epic songs are full of colorful
images of the brave struggles of the people of Central Asia for their independence. The
state of Amir Temur was recognized as the largest strong and most developed state in
Europe and Asia. Culture and art flourished during the reign of Shahrukh, Ulugbek, and
Husayn Boykaro, ruled by his descendants. The period from the second half of the 14th
century to the beginning of the century is a bright, rich, and productive period. In the
history of Central Asia, it is known that it has created a lot of rich, colorful, cultural, and
spiritual wealth, created opportunities for the talents of the people, created new pages in
the history of the culture and art of the Turkic peoples, and created new pages that
nourished completely new long centuries [2].
The art of singing together has a long history. Artistic creativity is historically
formed in the external world that surrounds a person, in the society in which he lives,
in the people with whom he communicates, and is realized in the examples of collective
singing. If a person cannot feel beauty, he will never be a harmonious, spiritually perfect
person. Choral art has the power to form these delicate feelings. Central Asian peoples,
including the Uzbek people, do not have professional choral art, but they have had a
tradition of group singing since ancient times. related to his work, lifestyle, created
musical masterpieces and left them from generation to generation orally. Children,
women, and men had separate singing traditions. For example zikr of adults in a religious
ceremony, singing of dirges, children singing in large numbers during Ramadan, Navruz
holidays, seasonal festivals, girls and boys singing, women in wedding ceremonies
performed as yor-yor, lapar, yalla, chertmak, beshkarsak team (choir) and solo.
The songs in the vocal part of “Shashmakom”, collected over the centuries, were also
sung by three, four or more singers. Among our people, especially in the Ferghana Valley,
“big songs” were performed together by three or more khafiz. Performance forms of
these folklore songs (yor-yor, olan, yalla, khashar, besh karsak, lapar, tarona in big song
and statuses, parts of the Ufor pattern) together as a group will be a choral hobby among
the Uzbek people in the future, in addition, created the ground for the development of the
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genre of Uzbek choral art. After the October Revolution, it was necessary to develop the
political creativity of the masses, awaken the masses, and organize their creative
activities. Artistic passion is a social need that was born, formed and grew during the
former Soviet Union. Since the 1920s, dance and choir groups have been formed in
schools and educational institutions and spread widely in our Republic. In each circle,
there was a small choir ensemble, which performed yallas, lapars, revolutionary songs
and marches. In these years, Khamza Hakimzada Niyazi’s activity is important. During
these times, amateur theater and choir clubs were organized in schools in cities and
villages. These teams consisted of choir, dance and artistic speech groups. Initiators such
as V. Sakovich and Ali Ardobus were active in the organization of school amateur theater
circles. In 1919, Sakovich united 300 children in the school theater (choir, dance and
drama). A girls’ choir was organized in “Zebiniso” school, later this choir was called
“Artistic girls”.
In 1919, Sh.
Shoumarov attended the Uzbek school named “Namuna”.
In 1922, Saodatkhanim Yenikeeva formed a choir of Uzbek girls in Tashkent [3].
Usta Olim Komilov in Margilon, Matyusuf Kharratov in Samarkand, organized
international concert brigades in parts of the Turkestan front. Along with singing public
songs and national anthems, they also wove
songs themselves. For example: “Batir
askar”, “Sakchi” and many similar tunes and songs were performed by choirs. By the
1930s, a new turn appeared in choral music. New songs were written and performed by
experienced composers for choirs. Yunus Rajabi, Imamjon Ikramov, Arif Kasimov,
Fakhritdin Sadikov created one or two choral songs. Songs such as Yunus Rajabi’s “Our
Village” and Fakhriddin Sadikov’s “Khormang now, collective farmers” were widely
spread in amateur choirs. In 1934, the regional amateur art music Olympiad was held in
Tashkent. A joint choir of 1000 people and a Dukhovy orchestra of 300 people
participated. This Olympiad has greatly advanced the work of the amateur club. Choral
groups took an active part in the 1937 Uzbek Literature and Art Decade in Moscow. In
1938, due to the Republican Olympiad, school and educational institutions choral groups
and amateur clubs increased in number. In the pre-war period, with the increase in the
number of choirs, the quality of unison performance was dominant. Since 1943,
the Republican Creative House has continued its activities. From the second half of the
1940s, the work of all choirs began to recover. The second Olympiad of volunteerism was
held. More than thousand amateur teams, including 20 thousand people, took part in it.
The third Republican Olympiad held in 1949
–
1950 was held. 1585 amateur teams and
25 thousand people took part in it [4]. Uzbek choir and ensembles participated. Since the
1950s, the multi-voice type of amateur choir has been developing. The teachers and
students of the Tashkent State Conservatory and the Technical School of Cultural
Education of the Music Academy provided practical and methodical support to the choirs
and formed many choirs themselves.
“March of Peace Supporters” by
S.
Yudakov, “Banner
of Peace” by A.
Mukhamedov, parts of S.
Yudakov’s suite “Mirzachul” and multi
-voice
choirs were played. In 1953, 1954, 1955, 20 thousand amateur singers took part in the
singing festivals. Various polyphonic choral works were played [5]. They showed high-
performance skills.
By the end of the 1950s, the Children’s Choir of Tashkent State
Conservatory teachers M. Subaeva and S. Valenkov was organized. By the 1960s and
1970s, the number and quality of amateur choirs changed. In 1975
–
1977, many choral
groups were awarded laureates, diplomas and gold medals at the zonal auditions of the
first All-Union festival of artistic creativity of workers.
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In 1977, amateur choirs of Uzbekistan demonstrated their skills at the festival held
in Tallinn. Nowadays, music and choral art are paid more attention in Uzbekistan. Y.
Kenzer, S.Valenkov, A.Vasileva, artist Sh.Yormatov, who served in Uzbekistan,
contributed a lot to the development of children’s choir performance in our republic.[6]
Currently, the “Boychechak” children’s choir and the “Bulbulcha” children’s choir have
been established under the Tashkent State Radio and Television Company. Their
program is headed by Sh. In 1982, they gave concerts in Sofia, Haskovo, Plovdiv and
Dmitrovgrad in Bulgaria. Such choirs will lead to the development of professional choirs
in the future. Adult mixed choirs exist in every institute, university, academic lyceum, and
college of our republic. Amateur choirs in Tashkent, Andijan, Bukhara, Fergana, Yangiyul
are working hard to improve their skills. Currently, there are hundreds of singing and
dancing ensembles and folklore ensembles in our Republic. Choir groups, women's and
men's vocal ensembles, and later three-four-voice choral vocal groups can be arranged.
In the future, such choirs may develop among the local people. The “Anor” folk ensemble
is active in the Kuva district of Fergana, a
nd the folk choirs “Gulruh”, “Chust taronalari”,
“Rokhat”, “Shalola” of the Chust district of Namangan region are performing.
Today, our
composers and composers have written a lot of works for academic and folk choirs [7].
Sh. Ramazonov,
T. Sadikov,
M. Ashrafiy,
S. Yudakov,
D. Zokirov,
Y. Rajabiy,
A. Muhammedova, T. Jalilov, M. Burkhanov, M. Leviev, I. Akbarov, S. Boboev, F. Nazarov,
K. Kenjaev, B. Umidjonov, D. Omonullaeva, M. Bafoev, R. Abdullaev, R. Mujdaboeva,
J. Shukurov and other young composers and composers re-adapted folk songs to the
choir. They wrote multi-voice, accompanied and unaccompanied choral works. Choir
hobby, born on the basis of folk performance traditions, was formed and developed over
more than half a century.
REFERENCES:
1.
Sharafiyeva N. Choir class. T., 2005.
–
P. 52.
2.
Jabbarov
A. “Composers and musicologists of Uzbekistan”. Tashkent, “New Age
Generation”, 2005.
–
P. 13.
3.
Sharafiyeva N. Choral studies. Gulom Publishing House of Literature and Art.
T., 1987.
–
P. 42.
4.
Jumayeva X. From the history of Uzbek choral music. T., 2000.
–
P. 26.
5.
Roziyev Sh. Chorus. Gulom Publishing House of Literature and Art. T., 1987.
–
P. 68.
6.
Rajabov I. Positions.
–
Tashkent, 2006,
–
P. 20.
7.
Solomonova T.Ye. History of Uzbek music.
–
Tashkent, Teacher 1981.
–
P. 35.
