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Methodologıcal Basıs of Classıcal Musıc in the Development of Artıstıc Relıgıon for Future Musıc Teachers

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Methodologıcal Basıs of Classıcal Musıc in the Development of Artıstıc Relıgıon for Future Musıc Teachers International Journal of Advanced Science and Technology Vol. 29, No. 8, (2020), pp.3373-3378 Methodologıcal Basıs Of Classıcal Musıc In The Development Of Artıstıc Relıgıon For Future Musıc Teachers Fayzullaev Ermat Majidovich 1 1 Jizzakh State Pedagogical Institute, candidate of pedagogical sciences Abstract This article discusses the most ancient historical stages and scientific processes of the classic “Bukhara Shashmakom”, the scientific views of great figures and their role in the formation of the world musical world, as well as the organizational structure of instrumental music and work on musical works. comments on methodological aspects. Keywords: Shashmakam, melody, rhythm, barcode, genre, salutes, starters, collectors, religious, Avesto, "status", "Nagorahona", tanbur, rubob, nagora, kobuz, tabl, zurna, nai, chagon, sheypur, pipe, Argun, law, truth ", Khusravani", "boda", "Ushshak", Zurafkand","bead","Sipahan","Basta","Tarona", buzruk, growth, navo, arc, Segoh, Iraq,"muskulat"and"Nasr","nutcracker and storytelling", tasnif, tarje, muhammas, sakil,"zarb - ul- Kadim","rahavi".y The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other art forms, music is a miraculous instrument capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. IA Karimov in his book "High spirituality is an invincible force" said: "There is no future for a nation that does not know its history, forgets its past," [7.4-6.]. The art of maqom has a special place in the study of musical heritage and its history. On the study of the musical heritage of the peoples of Central Asia, musicologists I.Rajabov, F.Karomatli, O.Matyokubov, A.Nazarov, R.Abdullaev, O.Ibragimov, S.Saidiy, R.Yunusov, G.Khudoev to study the musical heritage of our ancestors His research is noteworthy. On the soil of Central Asia and the Middle East, music culture and fine arts developed much earlier than in Europe and some Eastern countries. During the Zoroastrian period, the practice of performing ceremonial music in the palace rose to a high level. An example is the song "Kiri", which was performed not only in the palace, but also among the general public. Archaeological finds of musical art samples are also associated with a general performance culture. For example, the scenic Riton [Buddha statue] pulpit dates back to the IX-X centuries BC. In N. Hakimov's research, the styles of musical arts within the main sphere of influence are classified as follows: 1. Palace ceremonial styles, i.e. harem and palace styles; 2. Palace military methods-a] warning order [fireworks, meeting marches]; b] military orchestral styles; 3. Cultural Styles -a] Vocal Culture. b] musical culture.4.Kushan musicians culture -a] urban style, b] rural style, c] vocal and instrumental style, g] military style [city guards], d] ceremonial styles. [10.28-29.] The similarity of the musical traditions of the peoples of Central Asia was the basis for their further development. This was especially evident in the influence of palace musical art of that period. In the practice of execution, especially the "dabiriston" school was rich in traditions. There were the following directions in the musical culture of the city: 1. The ancestral art of Bukhara today "Shashmaqom" 2. Musical instruments and singers; 3. Dancers; 4. Actors and clowns; 5. Collectors; 6. The guard consisted of mekhtars, [14.48-52.]. According to Abu Rayhan Beruni, during this period, the locals in Central Asia widely celebrated 7 types of holidays throughout the year. Of the holidays, Navruz is supposedly celebrated as the king's birthday. Especially, the same holiday and other traditions and ceremonies of the same kind, in turn, led to the formation of new traditions. During this period, the oldest types of percussion instruments such as kifara, flute [nay], harp [chang], drums, large rez drums, military drums, small drums, doyra [daff], tablak, ISSN: 2005-4238 IJAST 3373 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 8, (2020), pp.3373-3378 Indian tablagi, kos, tabira were the most popular. did According to A.Rajabov, the peculiarity of Bukhara music culture is Darboriy [palace] music, ie Bukhara classical art [later Shashmaqom series], religious and ceremonial music traditions, types of military music, music of wrestlers, urban handicraft music, Rustoy and Dehat, ie consisting of examples of folklore. Darbari music brought together talented and famous performers of that time in the palace and developed a certain professional high school of professional performance. Religious and ceremonial music, on the other hand, requires everyone to be able to recite the 21 books of the Avesta, the Gatho, in special traditions. [14.62-64.] Military music is performed under the guidance of a master musician and is taught in a teacher-student system. The Pahlavis did not have separate music schools. They were mainly educated in religious and court schools. In Bukhara, the professional music of the city's teachers is well developed, from which musicians and singers from other regions and countries were trained as role models and students. In the X-XII centuries of the history of Central Asia, the Tajik art of music in Bukhara was revived and developed before Islam. However, after the Arab military campaign, Islam was established in Central Asia and the ancestral art of the Bukhara people, now called Shashmaqom, was called Maqom. Prior to that, as the state's "Symbol" and "Psalm", the palace was considered a legacy of high traditional music (related to the spirit and history of ancestors). [10.5-7.] This heritage was developed in the ARK under the strict control of the king. The service to the population was carried out under special supervisors after obtaining permission from the palace to hold various public events. At other times, it was displayed from the 25-30-meter-high inner and outer stage under the "Drum" at the top of the palace's ARK-gate. After the proclamation of the great feudal kingdom in the Samanid state, the glorification of Bukhara as one of the centers of Bukhara religion and culture, its spiritual, cultural, scientific, scientific and cultural development and prosperity, as well as the importance of our great figures. Our national art has been revived on the basis of the special significance of Hazrat Ismail Samani for art and the positive philosophical worldviews of his comrades. Uzbek literary scholar N. According to Mallaev, based on ancient manuscripts, in the X-XII centuries in Central Asia there were musical instruments - tanbur, rubob, kossa (double) drum, kabuz, tabl, zurna, nay, chagona, shaypur, surnay, karnay, argun, kanun, as well as percussion and wind instruments. It is widely used in performance, as well as in the period of "Rost", "Khusravoniy", "Boda", "Ushshak", "Zurafkand", "Bosalik", "Sipahon", "Navo", "Basta", "Tarona" and others. reported that many musical works were performed under this name. [9.94.] the chairman and scholar Abu Ali Ibn Sina (980-1037) also paid great attention to the science of music. According to some musical treatises, Abu Ali Ibn Sina allegedly invented the musical instrument "Gijjak" together with Sultan Mahmud Ghaznavi and Nasir Khusraw. [2.94-98] Muhammad Ibn Musa al-Khwarizmi, who lived in the tenth century, also paid great attention to the science of music. Thus, by the twelfth century, on the basis of the music theory of Pharoah and Ibn Sina, Khorezmian scholar Ar-Razi and Ash Sherazi, Urmavi, Amuli and other scholars were also engaged in musicology. The peoples of Central Asia have experienced many invasions and invasions in history. For example: the Achaemenids, the Sassanids, Alexander the Great of Macedonia (334), the Chinese Hakans (IX century), the Arab Caliphate (XII century 665), the Mongol invaders (XII century 1219), the totalitarianism of Russia in 1921-1990 and others. During this period, many parts of Bukhara, Khorezm, Surkhandarya, Kashkadarya, Samarkand and Fergana valleys were destroyed. Archaeological excavations in Khorezm, Afrosiyob, Kholchayon, Termez, Varakhsha, Bolaliktepa, Dalivarzintepa in Uzbekistan have unearthed terracotta artifacts of literature, art and culture, as well as many musical instruments, singers and musicians. Only during the reign of Amir Temur was Turkestan liberated from the Mongol invaders. Movarounnahr was captured and Samarkand was declared its capital. He also marched on the Golden Horde and conquered the North Caucasus, Astrakhan, the Black Sea coast in 1399, Iran, North India, Turkey in 1402, then Iraq, Syria and many other countries. During this period, culture, literature and art ISSN: 2005-4238 IJAST 3374 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 8, (2020), pp.3373-3378 developed in Movarounnahr. [1.32-38.] It should be noted that the civil wars in Central Asia after the Timurids also had a negative impact on the creativity and research of artists as a result of the attitude towards each other. In recent centuries, it was revived under the name "Shashmaqom", which was fully formed during the reign of Shaibanikhan. Consequently, during the reign of the last Emir of Bukhara, Sayyid Alimkhan, the Central Asian states suffered the 70th anniversary of the invasion of Tsarist Russia and atheistic attacks. Bunda; “Shashnaqom” is supposed to be religious, to ban its performance and not to accept our most advanced traditional instruments as a profession, which reflect nationalism in relation to it; Tanbur, Sato, Manzur, Tabla, Law and other times were excluded from the teaching system. Just as he did not, World War II took many of our talented musicians and performers with him to eternity. In the following years, only the Tanbur instrument was allowed. Again, until the 1980s and 1990s, strong atheistic blows hindered the development of the art of Shashmaqom with the merger of the Gidlyans and the KGB and the School of Lawyers under his control. Our national pride, Shashmaqom, was on the verge of oblivion, and philosophically, there were attempts to destroy the culture of our country.
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