THE USA JOURNALS
THE AMERICAN JOURNAL OF SOCIAL SCIENCE AND EDUCATION INNOVATIONS (ISSN- 2689-100X)
VOLUME 06 ISSUE09
192
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PUBLISHED DATE: - 30-09-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue09-21
PAGE NO.: - 192-195
THE SIGNIFICANCE OF B.V. ASAFYEV'S
INTONATION THEORY IN THE
INSTRUMENTAL-PERFORMANCE TRAINING
OF A MUSIC TEACHER
Adilya Trigulova
Associate Professor of the Department of Music Theory and Methodology of the Tashkent State Pedagogical
University named after Nizami, PhD, Uzbekistan
INTRODUCTION
The increasing importance of artistic and aesthetic
education as a means of comprehensive
development of the individual, the formation of his
worldview and spiritual and moral orientation,
imposes new demands on the training of teaching
staff called upon to carry out their professional
activities at a high level. The work of a music
teacher at school is complex and includes several
types of musical and pedagogical activities:
- the ability to talk about music in an accessible and
engaging way;
- illustrate your verbal explanations with
emotional and expressive playing of a musical
instrument (most often the piano):
- introduce students to the concepts of "form" and
"genre";
- possess conducting skills in working and
performing with a choir;
- possess a high general, ethical, psychological,
pedagogical, and musical culture.
The multidisciplinary nature of music teacher
training was pointed out in their writings by well-
known scientists and teachers who developed the
theoretical and methodological foundations of
music lessons at school - B.V. Asafyev, O.A.
Apraksina, V.N. Shatskaya, D.B. Kabalevsky, E.B.
Abdullin [3,2,1,17,8].
In modern pedagogy, the concept of "professional
competence" is used as a criterion for the level of
teacher training, including in the field of general
and special music education. The problem of a
competence-based approach to the activity of a
RESEARCH ARTICLE
Open Access
Abstract
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music teacher is considered in the works of A. K.
Markova, A.V. Khutorsky, L.H. Dzhabrailova, Z.M.
Akhmetkhanova, K.S. Degtereva, L. Kakimova,
O.V.Baryshnikova [12,15,7,6,4] and others.
The most important component of the general
competence of a music teacher is performing
competence, a relatively new concept in music
pedagogy. This significant and rather independent
ability of the teacher in the general structure of his
professional-pedagogical and musical-methodical
competence allows him to organize and manage in
a special way (through "live performance", actively
creative forms of classes and progressive
techniques) interaction with students, leading to
successful results.
Based on the study and analysis of the works of
M.A. Lashkul, N.E. Vysochkina [10,5] and others.
we define the performing competence of a teacher-
musician as a system of necessary qualities,
abilities and skills that meet modern requirements
for instrumental performance at the present stage,
allowing the teacher to effectively interact with
students and achieve high learning outcomes.
B.V. Asafyev defines performing activity as
intonation ("the life of a musical work is in its
performance, i.e. in revealing its meaning through
intonation for listeners" [3, p. 264].
Performance is the activity of a teacher-musician,
based on special movements to perform special
techniques of sound production, contributing to
the most accurate and complete disclosure of the
musical image. However, this becomes possible
only when motor skills are applied together with
musical and intellectual control. It includes
intonation, conscious and automated operation of
auditory
representations
and
muscular
sensations; following a dynamic plan, defining
harmonic complexes, achieving timbre diversity,
appropriate
application
of
pedalization,
understanding and sound expression of musical
development.
In B.V. Asafiev's theory, musical intonation is given
special attention as an integral component of
musical thinking and a special element that creates
various musical styles and forms, thanks to which
the creative process of composition (composer),
voicing (performer) and perception (listener) is
carried out. [3, p.268; 13, p.128].
The professional training of teachers in the field of
music education in pedagogical universities, as
already mentioned, is characterized by a
multifaceted specialization, including different
types of performance. It is known that intonation
in performance develops most successfully when
comparing music and words, music and gesture,
music and image, music and movement, etc.
Therefore, in this case, future specialists have a
unique opportunity not only to improve their
intonation and auditory experience in each of the
activities, but also to develop the ability to
generalize the methods of intonation and practical
work, the use of which contributes to the
formation of professionalism. For example, the
experience of intonation acquired in the voice
(vocal) class and having a more structured verbal
and sound structure significantly helps in the
application and improvement of instrumental
intonation, a clearer and more meaningful
construction of musical phrasing.
Since most students improve their performing
skills on the piano, it is this type of performance
that needs to be saturated with new techniques,
methods of improving instrumental training.
The interpretation of intonation processes is one of
the most difficult tasks, on the solution of which
the truly professional development of a musician
depends, and acts as the most important
characteristic of the personality of a music teacher.
The effectiveness of the performance of a future
music teacher depends on a whole range of special
techniques of musical thinking.
The development of musical thinking is based on
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the active perception and reproduction of the
content of artistic and creative (musical and
performing) activities.
The development of musical thinking is facilitated
by intonation education of a personality, which is
aimed at creating conditions conducive to a deep
and adequate assimilation of the intonation
content of artistic and figurative phenomena of
musical art.
Z.V. Rumyantseva gives the following definition:
Intonation education is a pedagogically guided
process of implementing a set of directions for the
development of musical thinking in a future
teacher-musician in the course of comprehending
the specifics of the content of musical art as a
creative process [14].
We define intonation education as follows:
Intonation education is the formation of flexibility
in the use of intonation
–
musical means of
expression, which constitute the essence of the
musical thinking of a future teacher-musician to
fulfill the artistic intention of the composer
through his own interpretation of the work.
The purpose of intonation education is the
development of performance intonation.
According to A.V. Malinkovskaya, "performing
intonation is a process of meaningful and
expressive (aimed at listener perception) sound
realization of a work, which consists in the
identification and design by the performer of
relations between elements of musical form at all
levels of their systemic organization and on the
basis of holistic interaction" [11, p.98].
A.A. Chirkina interprets the concept of "piano-
performing intonation" as a process of meaningful
and expressive coverage and performance of
musical material, which contributes to the
implementation of the relationship between the
elements of musical language and musical form,
provides a holistic organization of stylistic,
figurative, genre, textural and stylistic features of
the work [16].
The idea of expressive intonation is associated
among pianists with the mastery of melody
performance. Melodic expressiveness is based on
the comprehension of the figurative and emotional
structure of music, which arises as a direct
experience of it, then deepens and is concretized
during a detailed study of the logic of melodic
development, inseparable from the logic of the
musical process as a whole.
Performing intonation is understood in theoretical
musicology and the theory of performance as a
basic concept, a condition for its existence as a type
of musical and creative activity. Performing
intonation is actually the main means of musical
and artistic performance, as it synthesizes
knowledge, ideas, skills, emotions, artistic vision,
performing culture, and artistry of the performer.
It follows from this that the practical methodology
of teaching future music teachers should be based
on the intonation theory of B.V. Asafiev,
considering the mastery of intonation on an
instrument as the main richest means of holistic
artistic and figurative performance of a work. This
approach opens up almost limitless possibilities,
ways to further enrich the content and methods of
performing education, allows you to conduct the
educational process for the formation of students'
performing skills and their very further
professional activity adequately to the specifics of
performing creativity and the pedagogical tasks of
a music teacher.
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VOLUME 06 ISSUE09
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