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,

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

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. As a result of the efforts initiated by the first President of Uzbekistan IA Karimov, on September 1, 1991, Uzbekistan was declared an independent state. Interestingly, Shashmaqom, which covers the 2,400- year history of the development of our independence and has had its ups and downs, has become world- famous and was videotaped and archived by UNESCO in 2005 and again by UNESCO. Our most recent achievement and pride is that Bukhara "Shashmaqom" has an eternal value of 1 - (first) in the center of world traditional music, both in the direction of instrumental (Mushkulot) and singing (Nasr). The second place in the performance was taken by the Indian "Raga", and the Italian "Opera" in the direction of Ashula was forever sealed by UNESCO. [10.2-3.]. [French Journal. 2005.] Patterns of statuses that have been performed in the past have not reached us. According to ancient written sources, they took different forms and “Shashmaqom, which appeared in Bukhara at the beginning of the XI-XII centuries in the peoples of Central Asia, was fully formed by the XVII century, but its formation dates back to the XII century and began much earlier. Shashmaqom consists of Buzruk, Rost, Navo, Dugoh, Segoh, Iraq. Each status consists of two sections. It consists of sections of instruments and songs, which in recent times have been called "Mushkulot" and "Nasr". In Khorezm it is called "Mansur" or "Chertim yoli" and "Manzum" or "Aytim yoli". In the instrumental section of each maqom there are several parts called Tasnif, Tarje, Muhammas, Saqil and other phrases, which are added to the name of the maqom, including Tasnifi Buzruk, Tarj'ei Buzruk, Garduni Segoh, Muhammasi. Iroh ”and“ Saqili Navo ”. While these parts have independent melody themes in each of the stanzas, they are almost indistinguishable in structure. Some maqoms also have instrumental tracks that are not equivalent to other parts of the maqoms. Such parts are Nagmai Oras in the status of Navo, Peshravi Dugoh in the status of Dugoh and Samoi Dugoh in the status of Segoh. The first part of the instrumental sections The classification to some extent reflects the spirit of each status melody, in which the thematic material is used from time to time not only in the instrumental sections, but also in the singing lines. Some melodic, intonational devices of the classifications are more common with certain changes, especially in the Tarje, Muhammas, cycles. Tarjes are mainly melodies of Peshrov Khusus, which sound solemn and give a festive mood. Classifications are performed at a slightly faster tempo accompanied by a certain variant of the circle method. The first part of the instrumental sections, Tasnif, reflected to some extent the spirit of each maqom melody. The thematic material in it is used from time to time not only in the musical sections, but also in the singing lines. With some melodic intonation devices of classifications it is more common, especially from Tarje, Muhammas, Saqillar. Tarjes are mainly melodies about Peshrav, which sound solemn and give a festive mood. The third part of the instrumental section is that Gardun is not only in Iraqi status. Its doira method is more complex and differs from other parts in terms of melody structure. The lyrics are mostly lyrical. The instrumental parts of the maqoms were especially popular in Navo, Dugoh, Segoh, Iraq. While Gardun, Muhammas, Saqili Samoi hafif are associated with the names of doyra methods of a

International Journal of Advanced Science and Technology Vol. 29, No. 8, (2020), pp.3373-3378 certain structure, Nasrulloi, Vazmin, Oraz Husseini, Islam, Haji Khoja, Ashkullo, Mirzahakim, Kalon [15.72-74] are also names of composers. indicates that they are parts composed by the authorities. The parts of each part of the maqom instrument section are marked with the words “room” and “boz goy”. The room is the intonational thematic basis of the melody at the beginning, and in its repetitions it is the development of the first room at the beginning. Bozgoi represents a repetitive part of the melody - refrain. It is returned after each room. Rooms and melodies play an important role in the thematic development and formation of the melody. The rooms expand in size, initially becoming smaller in musical instruments other than muhammas and beards. As an example; Dimensions 8/8, 2/4, as well as the method closely associated with the spirit of the ancestors in the classical performance of Bukhara, the use of "zarb-ul-qadim", the initial part of the Bukhara Shashmaqomi and Khorezm maqom in the "Nasr" section, ie "Sarahbor" in the way of saying a great song. A module of this method can be found in doyra beats in the difficult part of Buzruk's status, such as "tasnif va tarje '", "iraqi Bukhara", "munojot", "ushshaki Samarkand" and other classical genres. [10.62-66.] During the period of independence of the Republic of Uzbekistan, there has been a sharp renewal and uplift in the social life, lifestyle and culture of our people. Thanks to independence, the rich historical values of our ancestors, the unique spiritual and cultural life spanning thousands of years are flourishing and taking a new direction. The spiritual heritage of our people, which has been developing for centuries, has opened a wide way for the study of musical traditions. The inclusion of "Fundamentals of Status" and "Traditional Singing" in the curriculum for pedagogical universities and institutes, music faculties and departments of higher music education in the country on the new state educational standards was a great opportunity for future bachelors of music to study our national musical heritage. As a result, it was possible to bring up a well- rounded person with a strong faith, strong will, independent outlook, a perfect mastery of the invaluable musical heritage of our ancestors, a cultured person with high artistic taste. According to the program "Fundamentals of Traditional Singing and Maqom", future bachelors will have a thorough knowledge of the history of makom, the characteristics of the great people, maqom branches and large-scale folk songs on the path of makom. They also accumulate a rich repertoire of folk songs, acquire a delicate aesthetic taste, artistic level, have a broad moral, spiritual and ideological worldview. Artistic aesthetic taste includes the ability to choose the most delicate, beautiful and perfect things created by man, to appreciate it and to express sympathy for the creation of such beauty, as well as the desire to create it. The role of music in shaping the artistic and aesthetic taste of man is incomparable. Unlike other art forms, music allows a person to harness the most delicate feelings, emotions, criteria of consciousness and subconscious movement in the human brain, and rich emotional reserves. However, it should be noted that not all works and songs shake this magical world of man. According to the great musicologists Al-Kindi, Al-Farabi, Ibn Sina, Abdurahman Jami, Kawkabi, Abdul- Qadir Maraghi and others, music has an emotional effect that can make a person happy, make him laugh, cry and put him to sleep or provoke his anger. is a miraculous tool. According to M. Khairullaev, a great scholar of our time, “One day Farobi entered the feast in honor of Sahib Abad. No one seemed to recognize him. Farobi enters the feast and sits quietly on one side. About an hour later, he picked up his musical instrument and began to play a wonderful tune. When he played the first part of the tune, everyone around was very happy and in a good mood. When they heard the second part of the song, they were very sad and started to cry. When the third part of the tune was performed, everyone was excited and then fell asleep. Then the guest wrote on the handle of the instrument: "Farobi came, was here and left." [15.34-36] If we take a closer look at the maqom sections studied with future bachelors of music, the maqoms always start with the sarahbars, i.e. heavy, slow-paced, wide-ranging sections, and continue with songs of different moods. The sections in the middle are also composed of works of a different character, glorifying man, giving him strength, immersing him in lyrical experiences. The maqams usually end with dancing, cheerful moods. Folk songs on the way to status are created to suit different moods of a person.

International Journal of Advanced Science and Technology Vol. 29, No. 8, (2020), pp.3373-3378 A significant proportion of the works recommended in the program for study with students include maqom sections and classical folk songs. The meaning of the word classic gives it a rare, selected, potential meaning. Learning such songs also adapts students to their moods, making them a calm, reserved, meaningful, discerning person. At the same time, he knows the norm of cheerfulness and encourages us to stay away from greed. The content is created in accordance with the content, history of the state, the tone of human life, social life and natural phenomena. This can be seen from the following thoughts of Najmiddin Kavkabi Bukhari (16th century) in his treatise on music [3]: “It is necessary to choose a suitable time to perform certain maqoms. "Rohavi" status before sunrise, "Ushshak" after sunrise, "Rost" before dawn, "Iraq" at dawn, "Buzruk" at sunset, "Buslik" before other prayers (before sunset with dawn). "Zangula" should be performed at sunset, "Navo" during the evening prayer, "Zirafikand" before going to bed, and "Isfahan" at night. [2] called Given the fact that the status corresponds to the psychological conditions that take place in the human psyche, it is advisable to create a mood in accordance with the song, which is intended to be studied in students before the study of each branch and folk songs. Based on the observation of the practice of music faculties of pedagogical higher education institutions, the study of the activities of future music teachers, the analysis of their desires, interests and needs, it is expedient to study national classical songs on the courses "Traditional Singing" and "Fundamentals of Status". The order of their study is based on the classic works given in the curricula of the courses "Traditional Singing" and "Fundamentals of Status". ar was selected on the basis of the simple-to- complex principle, taking into account the increasing dynamics of students' performance experiences, skills and abilities. In the course of the lessons it is necessary to get acquainted with the methods of performance of famous singers in the study of classical works, the zeros used by them, to help students choose a style that suits their nature based on the study of their experiences. For this purpose, well-known hafiz - Hoji Abdulaziz Abdurasulov, Halim Ibodov, Mulla Tuychi Tashmuhamedov, Matchan Khudoiberganov, Muhiddin Qori Yakubov, Jurahon Sultanov, Mamurjon Uzokov, Tavakkal Kadyrov, Komiljon Otaniyozov, Fattohhon Mamadaliev, Orifhon Hotamov, Orifhon Hotamov, Orifhon , Kommuna Ismailova, Olmas Saidjonov, Mamurjon Tukhtasinov, Munojat Yulchieva, Nasiba Sattorova [15.71-72] and others to listen to the magnetic tapes with their voices, to use them effectively in national traditions The method of teaching music education, the most important task. Naturally, each of these problems requires a separate definition and guidance. Careful study of classical songs by them is also important in preparing future music teachers for pedagogical practice. Indeed, the classics have an influential power, they have a national spirit and play an important role in educating not only students, but also students on the basis of national values, cultivating in them the spiritual and moral qualities that have been respected for centuries. The reason for the viability of classical songs is that they fit the taste of the people, are recognized by the people. Also, their perfection in content and music, their ideology can attract the attention of people of all ages. Another factor that ensures the longevity of national classical songs is the fact that they have been able to fully meet the spiritual needs of people in any time and place, and in this respect have a high artistic value even today. Such a conclusion can be drawn as a result of a logical analysis of the essence of these requirements for musical knowledge, skills and abilities of students. First, they reflected an emphasis on the study of national classical music; secondly, on their basis the possibilities of formation of high artistic taste in pupils are considered. As a result of effective organization of music education, students develop the skills of accurate assessment of classical music, the ability to distinguish shallow works from songs with a high artistic level, as well as the ability to objectively evaluate classical songs.

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