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MAKTAB MUSIQA TA’LIMIDA O’QUVCHILARNI DIRIJORLIK
AMALIYOTIGA O’RGATISHNING O‘ZIGA XOS XUSUSIYATLARI
p.f.f.d.
Pardayev Sobit Abdivali o‘g‘li
SamDPI “ Musiqa ta`limi” kafedrasi dotsenti
sobitpardayev@70gmail.com
Mirzayev Shaxzod Yunus o‘g‘li
SamDPI
“Musiqa ta`limi” yo‘nalishi 1-bosqich talabasi
shaxzodmirzayev@001gmail.com
METHODOLOGY FOR TRAINING STUDENTS IN CONDUCTING
PRACTICE IN SCHOOL MUSIC EDUCATION
Abstract:
Singing in a group (choir) in musical culture lessons in secondary schools
is closely related to conducting. In this process, the teacher acts as the leader and conductor
of the choir, and at the same time, one of the most important pedagogical tasks is to teach
students to sing with an understanding of conducting actions, that is, to acquaint them with
basic knowledge of conducting.
Key words:
General school, musical culture, collective (choral) performance,
conducting, simple, complex measures, conducting schemes, measures, 2/4, ¾, 4/4, 6/8,
staves, left and right hands, aftertaste, pause, facial expressions.
Introduction:
The organization of "Music Culture" classes in secondary schools in
accordance with the requirements of the program, the formation of the necessary
knowledge, skills and qualifications in students in the theoretical and practical areas of
musical art, the work of a music teacher as a qualified pedagogue, psychologist, music
theorist, vocal, instrumental, choir conductor is considered a factor determining his
professional competence. The organization of school music classes on the basis of
activities is defined by its specific nature. Singing in a group plays an important role in
these activities, and the majority of the lesson is devoted to this activity, in which students
are required to know the rules of conducting, to understand and sing conductor's gestures,
to conduct while singing, to use measurements while conducting, conductor's schemes, auf
takt, to start playing, to finish playing, to use hands (right, left) to conduct, to express the
div, head, legs, face (mimicry), to express various strokes - league, ligato, staccato in
hand movements, as well as to be able to conduct works of different themes, genres, and
characters, as specified in the standard requirements of the subject. Therefore, this article
discusses the knowledge, rules, and methods of mastering conducting that students should
acquire during school music lessons.
Literature analysis.
The foundations of the art of conducting have a long history,
and its roots developed in connection with the culture of Western Europe, with the
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formation of the art of polyphonic music. The development of orchestral and opera
performances played a major role in the natural need for the art of conducting, its formation
as a science. The French composer Lully introduced the sound of percussion hitting the
floor when conducting the orchestral performance into the practice of performance. Later,
as a result of the conductors-composers conducting their works, the measurements,
schemes, and rules of conducting were formed in a single system, and the conductor
became a person who interpreted or controlled the musical work. The work of European
classical composers played a particularly large role in the development and improvement
of the technique of conducting. The introduction of music education in educational
institutions led to the study of this art as part of the musical sciences. Since the group
singing activity in the educational process cannot be without the guidance of a conductor,
educational and methodological resources on conducting have been created for different
stages of education. In Uzbekistan, the services of such choir conductors as S.A. Valenkov,
Q. Mirzayev, R.E. Khublarov, B. Umidjanov, A. Hamidov, J. Shukurov, A. Sultanov, Sh.
Yormatov deserve special recognition.
The book “Rules of Conducting” by A.M. Pazovsky, who lived and worked in
Uzbekistan, covers the ideas of Russian and world composers on the art of conducting,
their theoretical and practical instructions, and the tasks of the conductor in working with
an orchestra and choir. Sh. Yormatov is considered a master who made a great contribution
to the development of children's choral singing in Uzbekistan and the practice of working
with children's choirs with his work.
J. Shukurov's textbook "Conductorship", dedicated to the teaching of conducting in
amateur choirs and higher education, describes the historical development of the art of
conducting, along with theoretical rules, the main actions of conducting, and demonstrates
them with practical examples. I. Kudratov's textbook "Conductorship" describes in detail
the organization and management of a choir in school music education, the methods of the
teacher's work as a choir director and conductor.
The research methodology was based on the Law of the Republic of Uzbekistan “On
Education”, the Resolution of the President of the Republic of Uzbekistan dated November
17, 2017 “On measures for the further development of the Uzbek national art of naqom”,
the Resolutions and orders of the Cabinet of Ministers of the Republic of Uzbekistan on
science, education, cultural and educational education, the teachings of Eastern scholars
on the role and importance of musical art in human development, as well as scientific and
methodological works of scientists of our republic and advanced foreign countries on
national pedagogy and educational methodology, applied pedagogical and psychological
recommendations and conceptual approaches. Analysis and results. The first factor in
group singing in the first grade is to accustom children to move in time to music. This will
greatly help students in the future to form a rhythmic (even) coordination of conducting
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movements. It should not be forgotten that being in tune with music is one of the important
factors of conducting skills and qualifications.
At the next stage of conducting practice, students are taught to move their hands up
and down in accordance with the musical piece, and they begin to perform exercises. .In
this case, the hands are moved freely, in a certain volume, forward,
Since group singing
in music lessons in secondary schools is a leading form of music education and upbringing,
teaching students to understand and sing conductor's gestures in this activity is one of the
important tasks of music education and upbringing. It is impossible to talk about any group
performance without ensuring that students have the necessary understanding and
knowledge of conducting practice. From the early stages of education, in the activity of
singing (in school music education, students of one class are considered a team, that is, a
choir, and singing is carried out in a collective choir style), students are given the first
concepts of conducting actions[3].
In school music lessons, the concepts given to students about conducting are primarily
focused on their acquisition of the skills of giving rhythm by following the teacher's hand
movements, feeling the content of the musical text, playing it, tapping the table with an
object, and giving rhythm. After a certain sense of rhythm is formed in children (feeling
the rhythm, rhythmic accompaniment to the musical work, singing according to the
teacher's hand movements), they begin to be given the first lessons of conducting - the
rules of conducting, conducting terms, and gestures. Among these, the concepts of
"attention", "breathing" (before performing a song), auftakt, "starting a performance",
"ending a performance" are explained through practical instructions. Children should
initially acquire singing skills in accordance with these elements in the process of singing.
Of course, the acquisition of these concepts together with the rules of singing gives good
results when they are shown and explained in a practical way. Here, the teacher's
exaggerated hand movements, facial expressions, rhythm, and actions that clearly express
the pace are of great importance. We know that during the first and second quarters of
grade 1, since students do not have written literacy, children sing the song following the
teacher's voice, and at home, with the help of their parents and siblings, they learn and
memorize it. Therefore, teachers' conducting gestures play a key role in determining the
quality of students' singing in unison. The teacher's teaching students to sing in accordance
with the "attention", "auf takt", "beginning of the performance", "completion of the
performance" serves as the basis for conducting practice.
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Exercises and songs are selected based on this scheme. Students independently
perform movements to the conducting scheme. The textbook provides this understanding.
Depending on the different measures (counts) of the chorus, the conducting hand
movements also vary. For example, to a song in two-quarter measure, which is counted as
“one-two”, the conductor moves his hands down and up. To ensure that the mastery of the
conducting scheme is interesting and easy, various didactic game elements and didactic
trainings can be used in the lesson within this topic. Didactic trainings can be conducted
on topics such as “What measure is this?”, “How to conduct to this measure”, “Conduct
by counting”. Children actively participate in such trainings, strive to demonstrate their
knowledge. When teaching children to conduct, special attention should be paid to the
movements of expressing strong and weak parts. It is necessary to instill in the student's
mind that weak contributions include the task of preparing for the next contribution.
Because, the last contribution (weak contribution) of the measure (scheme) is also the
beginning of the next (strong) contribution.
It is in the 3rd grade that information is given in the "repetition" column about the
movements of conducting in 2/4 time. It is written in 2/4 time. F. Nazarov's song "My
Shirt" is sung as a conductor[4]. Of course, the process is carried out in the manner of
carefully observing the teacher's conducting movements and imitating him in performing
conducting movements. In this process, the teacher monitors all students in the direction
of the conductor, including the position of the hands, div, legs, the amplitude of hand
movements, the speed of the hand measures, and the same smooth rhythm and tempo. After
that, the next lesson will begin with the study of conducting movements for songs written
in 6/8 time. Before studying conducting movements for 6/8 time, the teacher will explain
the structure of the 6/8 time signature (a measure consisting of 6 quarter notes). He will
explain that the conducting movement for such a measure is conducted in the same way
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(scheme)
as
the
movement
for
2/4
time
signature.
Learning to conduct in 6/8 time is initially done by saying the counts of the scheme
out loud "down" (1,2,3), up (4,5,6), and performing hand movements evenly, in time, at a
certain tempo. After that, the teacher sings one or two bars of the chosen song and
demonstrates conducting, and the students repeat the teacher's movements. This is
continued until all the students in the class have mastered the conducting movements to
the same extent. If this process becomes too "protracted", the teacher should not allow the
students to "get bored" and "weary" of repeating something, and it would be
methodologically correct to suggest that they continue the conducting movements in this
time together in the next lesson. The 3rd grade textbook recommends Mardon Nasimov's
song "Garden of Peace" for conducting in 6/8 time. It should not be forgotten that due to
the psychological and physiological characteristics of primary school students, their
"attention", "sensation", "memory", "musical hearing" (slux), and "musical perception
skills" are not well developed, so it is difficult for them to immediately master the material
covered in the lesson. Situations such as the fact that even one hour of lessons a week does
not retain the knowledge learned today after a week require the music teacher to pay
attention to the continuous repetition of each musical-theoretical and practical performance
knowledge and concepts in each lesson. The authors of primary school music textbooks
also expressed this "correct attitude in textbooks to the repetition of theoretical knowledge
and concepts from the point of view of the correspondence of educational materials to the
standards of children's mental development." After the conductor's movements in 2/4 and
¾ time signatures are mastered to a certain extent with the help of a teacher, and after the
teacher is convinced of this, the next stage of conducting practice is moved on. The next
step is three-quarter time signature. In the process of conducting movements in three-
quarter time signatures, students are given the following understanding: In addition to two-
quarter time signatures, musical works also have three-quarter time signatures. Melodies
created in this time signature are more likely to be danced to. Waltz music is an example
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of this. When learning to conduct in three-quarter time, the following movement should be
performed: in the first strong part, the hand movement goes from the top (after the beat) to
the bottom.
Based on this scheme, the hand movements are repeated several times. At the next
stage of mastering the scheme, we sing the following song and conduct with our right hand
in three-quarter time.
When teaching students the practice of conducting, the teacher must always remember
the direct connection of theoretical knowledge with conducting. In the 1st quarter of the
3rd grade, students are given an understanding of pauses. What does a pause mean, what
function does it perform in musical practice, how does it look, how is it written, and how
to count it, the question of how to conduct pauses should also be taken into account, and
students are given both theoretical and practical (demonstration, demonstration, practice,
conducting bars where pauses occur in melodies) concepts.
The textbook says this about pauses: - pauses are used when it is necessary to stop or
pause the sound at some point in a song or melody.
Just as notes have different lengths, pauses also have different lengths. Students are
first given the concept of a quarter rest, which is equal to a quarter note.
Conducting a piece of music with a quarter rest. Conducting movements are made
following the teacher's movements. During lessons on the topic of rests, an understanding
of the half-quarter rest is given. A half-quarter rest is equal to a half-quarter note.
A quarter rest is written like this:
A quarter-minute pause exercise is listened to, sung as a song, and conducted by the
teacher. A piece written for children with quarter-minute pauses, for example. The song
"Nisholda" given in the textbook is studied, and conducting practice is performed.
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It is in this process that the 4/4 time signature, the conducting scheme for it, and the
conducting movements are explained using the lesson's "return to previously covered and
run and jump to the upcoming lessons" method (special method), and the teacher's
performance is practically demonstrated. Of course, the concepts given are mastered by
imitating the teacher's conducting movements in relation to the singing activity. The
teacher, in turn, carefully monitors the students' every hand movement, conducting
"setting", and "manual technique" during the process of singing and performing exercises
in "solfeggio".
The 4/4 time signature is explained as follows. The 4/4 time signature is most often
used in musical works such as anthems, songs, and marches. The number "4" at the top of
this time signature means that there are four beats (quarter notes) in one measure, and the
number "4" at the bottom means that each beat is equal to a quarter note. This is explained
by the fact that of the four beats, the first beat is strong, the second beat is weak, the third
beat is relatively strong, and the fourth beat is weak.
Although 4/4 time uses different beat lengths, their total must equal four quarter beats
per measure.
4/4 time signature is sometimes denoted as "C". When conducting in 4/4 time
signature, the hand movements are based on the following pattern. "One" is a hand
movement from top to bottom, "Two" is a hand movement to the left, "Three" is a hand
movement to the right, and "Four" is a hand movement up.
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In the next part of the conducting practice, we will return to the 6/8 time signature[5].
This time, the concept is as follows. The number "6" at the top of this time signature
indicates that there are six beats in one measure, and the number "8" below indicates that
each of these beats is equal to the length of an eighth note (quarter note).
When conducting a six-part measure, the right hand movement is as follows.
Works with a fast tempo are conducted in the same way as in the usual two-part time,
as mentioned earlier. In this case, each hand movement corresponds to three and a quarter
parts.
In conclusion, it is worth saying that in conducting, attention is paid to the expression
of league, legato, fermato, reprise, dynamic signs in hand movements, etc. In order to
strengthen the knowledge of conducting, determining the "time" measures, such as "what
alteration signs are used in the example?", "what pauses are found in the example?",
"conduct a pause example or work", "conduct a song with notes", "conduct a song with
notes first, and then with words" are regularly completed.
In the 5th grade, conducting in the main time signatures 2/4, 3/4, 6/8, 4/4 continues.
When conducting, conducting movements are performed first with the right hand, then
with the left hand, and then with both hands.
In the 6th grade, conducting knowledge and concepts are continued at a consistent
pace in the areas of conducting an exercise or song written in 2/4 time signature,
conducting a melody, and singing notes with a clear, smooth, and pure sound. Attention is
paid to the fact that the melodies and exercises listened to are in different time signatures
and note lengths. In this process, students develop knowledge, skills, and competencies in
not only conducting gestures and movements, but also in reading notes, solfeggio, and
musical literacy.
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Even in the 7th grade, knowledge and understanding of the art of conducting is limited
to these three main dimensions of conducting. This is characterized by the criteria for the
knowledge and skills of students in school music lessons.
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G’ulom nomidagi nashriyot matbaa ijodiy uyi, 2022y.
4. Nurmatov H., Norxo’jayev N. Musiqa. 3-sinf uchun darslik. - Toshkent, G’afur
G’ulim nomidai nashriyot matbaa ijodiy uyi, 2020 y.
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nashriyot-matbaa ijodiy uyi, 2019 y.
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