Andizhan State University named after Z. M. Babur The Faculty of Foreign Languages The Department of English Language and Literature Gavhatroy Isroilon qizi

Musical forms
Musical forms мусиқа шакллари:
Piece мусиқий асар қўшиқ куй,
movement катта мусиқий асарнинг бир қисми,
sonata соната,
area ария,
fantasy мусиқий фантазия,
suite мусиқий асарларнинг бир қисмини ёки барчасини калити ёки мусиқа тури, rhapsody қадимий айтишув куй билан эмас сўз билан айтишув,
concerto концерт,
solo яккахон,
duet дуэт икки кишилик куй,
trio уч кишилик,
quartet тўрт кишилик,
quintet беш кишилик ёки асбобли,
sixtet (etc.) олти кишилик ёки олти асбоб учун ёзилган мусиқа,
chorus хор жўровоз.


Musical rhythms

Musical rhythms мусиқа ритмлари:

polka полка,
waltz валц,
march марш яъни харбий юришлар куйи,
blues черков ғамгин куйи,
ragtime рақсбоб куй,
jazz жаз,
swing жаз куйлашни бир тури бўлиб кучли овоз билан куйланади бизни катта ашула сингари,
bassanova паст ёки баланд овозда куйланадиган куй,
sambo самбо рақсли куй,
disco диско рақси билан куй,
rock рок.
Jazz

In the early twenties America became caught up in a whirl of post-war gaiety. The hectic period would later be known as the Jazz Era. Soon jazz had begun its insistent migration across the world. While Black musicians of America were recognized as the true experts in the jazz field, the idiom attracted white musicians, who found it stimulating and profitable to form bands to play in the jazz style. Prominent among these white band-leaders were Paul Whiteman and George Gershwin, whose 1924 Rapsody in Blue was the first popular jazz concerto.

While many self-appointed prophets were condemning jazz as vulgar, and others smugly foretelling its early death, some notable European composers attempted to weave the jazz idiom into their musical works. These included Debussy, Ravel, Stravinsky, Shostakovich.
(Here one is reminded that several composers, including Debussy, Ravel, Liszt, Bizet and Richard Strauss, befriended the much-maligned saxophone, invented about the middle of the nineteenth century, and introduced it into the concert-hall.)
Before we leave George Gershwin, we should mention his Porgy and Bess which brought something daringly different to opera: the music, Gershwin's own, sounds so authentically Afro-American, that it is surprising that this rich score was written by a white American.
We are forced to contemplate the fact, that notwithstanding the achievements of Debussy, Stravinsky and many others, the experience of music in the western art tradition remains essen­tially unchanged. It's still composed by highly trained special­ists and played by professional musicians in concert halls.