Table of contents: I. Introduction: chapter I. Chore culture in uzbekistan

TOPIC: Uzbek national spiritual music art

TABLE OF CONTENTS:

I. INTRODUCTION:

CHAPTER I. CHORE CULTURE IN UZBEKISTAN.

1.1. The role of music education in the development of personality

1.2. Development of amateur choral culture.

CHAPTER II: THE BEGINNING OF CHORUS CULTURE IN UZBEKISTAN AND

DEVELOPMENT

2.1. The beginning and development of choral culture in Uzbekistan.

2.2. Development of professional choral art

III.CONCLUSION

IV. REFERENCES

INTRODUCTION:

In the past, there was a professional choir in the Sogdian state, but this art did not develop after the Arab conquest. Due to the monodic basis of Uzbek music, polyphonic choral performance has not been used in practice for many centuries and the form of professional solo performance has been preserved.

The polyphonic choir was originally used in musical dramas and comedies, adapting folk music to the chorus. S. Vasilyenko and M. Ashrafi "Storm"
There are many first operas by R. Glier and T. Sodikov, such as "Layli and Majnun". The voice played an important role in the development of Uzbek choir performance.
From ancient times, singing as a group has been used to express the labor activity and dreams of all peoples. The songs have been passed down orally from generation to generation. In Uzbekistan, men, women and children have a tradition of singing together. For example, at various ceremonies and festivals, during the month of Ramadan, children sing or adults recite dhikr, mourning songs. Children's songs performed as a group: "Boychechak", "The sun came out", "The stork came".
Singing of boys and girls on Navruz holidays, singing at weddings, yallas are performed in chorus. The songs in the vocal part of Shashmaqom were also sung as a group. Perform large songs in groups of 3-4 (this is a choir performance). The above-mentioned works were performed in unison. Folk songs (yor-yor, yalla, hashar, 5 claps, lapar, big song) and parts of maqom (tarona, ufor, pattern) were sung collectively.
Music is an art form that plays an important role in the formation of human personality, which has a wide place in our cultural life. As early as the fourth century BCE, the Greek philosopher Plato said: if the upbringing is set in the right direction, otherwise it will turn out to be the opposite.
His student Aristotle (Plato) supports this idea with complete confidence. "Music has a certain effect on the moral side of the human soul, so it affects the upbringing of young people." Abu-Nasr Al-Farabi, the ancestor of our national culture, describes the definite influence of music on the formation of personality as follows: regulates, matures the immature, and maintains the balance of those in balance. This science is also good for the health of the body. >
Music has an invaluable impact on the development of the human spirit and mind. At the end of is life, Darwin complained of a decline in his memory and thinking ability. I would make a rule for myself. >> Therefore, the main goal of music education is to instill in students a culture of music, which is an integral part of human spiritual culture.
Moral purity, aesthetic attitude to art and life to the harmonious combination of mental and physical development
are important conditions for maturity. Properly organized children's music education is of great importance in achieving this noble goal. The purpose of the course work. In educating the harmoniously developed generation in the spirit of high spirituality, it is necessary to introduce the works of composers in the Uzbek musical culture.
The object of the course work. Uzbek music of harmoniously developed generation
Introduction to the work of composers and composers in the culture, national pride,
Effective music lessons and activities in educating in the spirit of pride
is to develop ways.
The subject of the course work. In the Uzbek musical culture by introducing the works of composers and composers to differentiate students' understanding of the works formed in the works of composers.
methods.
Course work tasks:
Creativity of composers and composers in Uzbek music culture
with
to get acquainted, to study musicologists on this topic
thoughts
Creativity of composers and composers in Uzbek music culture.
CHAPTER I. CHORE CULTURE IN UZBEKISTAN.
1.1. MUSIC EDUCATION IN THE DEVELOPMENT OF PERSONAL DEVELOPMENT
IMPORTANCE
The development, upbringing, and formation of the individual is the physical,
it is a process of mental maturation. Of this process
specific
there are objective and subjective aspects.
Music is an art form that has a wide place in our cultural life and plays an important role in the formation of human personality. As early as the fourth century BCE, the Greek philosopher Plato said: if the upbringing is set in the right direction, otherwise it will turn out to be the opposite.
His student Aristotle (Plato) supports this idea with complete confidence. "Music has a certain effect on the moral side of the human soul, so it affects the upbringing of young people." : “This science (i.e., music D.O.) is useful in the sense that it regulates those whose character has lost its balance, brings those who are not perfect to perfection, and maintains the balance of those who are in balance. This science is also good for the health of the body. >>
Music has an invaluable impact on the development of the human spirit and mind. Ch.Darvin.
At the end of his life, he complained of a decline in his memory and thinking ability. I would make a rule. " Therefore, the main goal of music education is to instill in students a culture of music that is an integral part of human spiritual culture.
Moral purity, aesthetic attitude to art and life to the harmonious combination of mental and physical development are important conditions for the full development of the individual. Properly organized children's music education is of great importance in achieving this noble goal. Children's abilities develop during active musical activities. Abilities are the psychological characteristics of a person aimed at acquiring the necessary skills, abilities, knowledge and successfully applying it in practice.
Ability to perform a specific type of activity. Analyzers of the nervous system (system) develop on the basis of factors such as sensitivity, strength, mobility, balance of nervous processes. For example: for two students in the same class, the teacher gives an etude of a poem of the same work. But one of the students starts the etude a week later, and the other immediately starts killing the agile, fast. The other student is unable to do this even after a month and makes many mistakes. An educator who wants this difference in success will link it to the level of ability in the students in such cases.
Inheritance of innate abilities, for example, is of special importance in medical science and pedagogy. For example, some hereditary migration in children from certain families given to alcoholism
there are cases of mental illness. Children of healthy people have a high level and quality of mental activity. The development of cognitive and cognitive processes in people who are physically and mentally healthy is largely determined by the conditions in which they are taught or placed.
Our education system creates equal opportunities for all students. At the same time, the talent available to each person is aimed at creating conditions for the development of abilities, does not negate the stratified approach to students, taking into account their individual characteristics. In order to show his abilities, his owner has to work hard.
There is a saying among our people, "He does what he sees in the bird's nest." Every child receives his first upbringing from his parents, family members, and those close to him. A positive family environment, family relationships, mutual respect and consideration, kindness, mutual assistance and their relationship to music are key factors in the development of children's initial understanding and skills. rin holds. The children’s personality was formed in the course of his activities. After all, the student's activity is very interesting, uniquely beautiful and colorful in terms of form. Only when these same qualities become a constant need inherent in children do they become more active. This beautiful feeling, which is interesting and spiritually pleasurable, has a strong influence on the upbringing of children and students, especially in the field of delicacy. Consequently, the scientific artistic and aesthetic upbringing of a child prepares the ground for important spiritual beauty.
It is the task of the educator to organize and direct children from an early age, taking into account the characteristics of their youth. Otherwise in the development of the child
feel left behind. For example, if a child is not taught to distinguish at the first age by the pitch of musical sounds, he will not be able to perform these tasks at the age of seven.
Important features of musical development are: -hearing perception, musical listening ability; -quality and level of emotional response to music of different nature;
It’s simple in singing, performing musical rhythmic movements. building skills.
1st year of children's life: Psychologists (psychologists) note that hearing and sensation in children wake up early. According to A.A. Lyublinskaya, the reaction to sounds is felt in 10-12 days of a child's life.
A 2-month-old baby calms down by listening to the sound of the violin.
4-5 month olds look for the source of the sound. They listen to the sound of singing. A properly developing child from the first months will have a complex revival of the character of music, that is, they will rejoice or calm down. Towards the end of the first year of a child’s life, they try to be accompanied by humming to an adult song.
2nd year of a child’s life: Children’s bright emotional response to listening to music indicates a cheerful liveliness or a gentle mood. Bola. distinguishes between high and low sounds, loud and slow sounds, and even timbre works. (Played on a metallophone or drum) For the first time, conscious singing intonations are formed. He accompanies an adult song and repeats the last sentences of the song, performing simple movements such as clapping, kicking, spinning under music
possible.
3 and 4 years of a child's life Children develop sensitivity, separation of various features of bodies, including features such as music. Individual development of musical sensitivity is also observed. For example, children can clearly sing simple songs. This period is again characterized by the desire of children to act independently. In children, the desire to be active, the interest in music increases. 4-year-olds can sing small songs independently with less help from adults, they know different movements and can use it to a certain extent independently.
5 years of a child's life: This period is characterized by their active curiosity. What is this period? What for? - is a period of questions.
They can observe and determine the cheerful, merry, calm nature of the music, the loudness of the sounds, the fastness of the first part of the play and the slowness of the second part, the instrument on which the melody is played (grand piano, violin, bayan).
Proper understanding of the requirements for the child. The sound becomes resonant, moving during this period. The intonation of the voice is much more stable, but it always needs the help of an adult. The main types of movement - walking, running, jumping - allow children to use these types of movements in games, dances.
6-7 years of a child's life: This period is the period of preparing children for school. Musical impressions received in kindergarten, under the influence of knowledge, children can characterize musical works, analyze its means of expression, feel the different moods expressed in music. The child will be able to perceive musical images as a whole. Thisand helps to cultivate an aesthetic attitude to the environment. In children aged 6-7 years, the vocal apparatus develops further. There is a melody in the voice. Songs, dances and games are performed independently. Musical interest and abilities are more vividly demonstrated. View pages
-1.2. DEVELOPMENT OF AMATEUR CHOR CULTURE.
First grade: In the first grade, the goals and objectives of music lessons are determined based on the level of psychological and physiological characteristics and musical-educational characteristics of children. It was up to the note. period, accompanying children on a musical instrument, performing musical rhythmic movements, the main criterion of music education for all purposes to be performed in this class is focused on the formation of a musical culture that is part of the spiritual wealth of students. In the first grade, the foundation of music education is seen. From the first grade, special attention should be paid to identifying and expanding the vocal range of students. In the primary grades, the vocal range of most students does not exceed the first octave "Second grade: Second graders according to their psychological and physiological character: first graders according to their psychological and physiological character: similar to first graders. Concepts acquired in the first grade, such as differentiation according to the musical characteristics of the song, dance, and marsh genres, become knowledge. The focus is on vocal-choir work, relying on the teacher’s voice and instrument to double the students
in a group and teaches songs by creating two voices from playing a sentence of a melody in a row.One and two vocal songs in the Do1-Re2 range are sung. Musical-rhythmic movements and children's musical instruments are widely used in understanding and describing the character and genre of music, as well as Uzbek folk songs and musical instruments, the works of composers.
Third grade: Third grade students are very different from grades 1-2 in their psychological character. The knowledge and skills acquired in the second grade become a more accurate theoretical knowledge of the laws of music. Their attention span is stable, their speech is fluent, and they are able to sing two-voiced works formed by sound devices (students sing works with one-voice and two-voice song elements in the doi-rez (mi2) range). will have. His interest in music lessons is growing.
Fourth grade: In fourth grade, students become psychologically rich in life experience and curious about the sciences. They will be able to listen to music that is larger in terms of volume, thinking about issues that are stable, serious. For comparison, it is advisable to use unaccompanied-a'capella works from two-voiced songs in the research process. In the process of listening to music, it is necessary to provide information about Uzbek folk music and its socio-historical significance, the closeness and similarity of Uzbek folk music with the music of fraternal peoples. In addition, it is appropriate to involve in clubs, to form solo ensembles.
Fifth grade: In the fifth grade, the basic education phase begins. In fifth grade, students will have changed significantly psychologically.
Their attention span is constant, with an interest in science, research, and the presence of their favorite hobby. As thinking develops somewhat, logical cognitive abilities begin to develop through words rather than visual perception. Vocal-choral skills sound ranges are uneven. (D-miz first sound, Doi (si kich) -Doz (rez) to sing one- and two-voice songs in the second sound ranges). That is why a pure unison ensemble sings in two voices.
Sixth Grade: In sixth grade, students begin their adolescence and take a serious interest in the laws of nature and life. Psychologically and physiologically, there are active changes in the body. His height grows, his voice changes, his interest in science and the ability to think independently develop. As a result, the brain does not get enough nutrients and fatigue occurs. During this period, the teacher is required to treat them seriously and kindly, to have a friendly conversation. Can sing one- and two-voice songs in the following range: first sound do-miz (phase), second sound Si kich (Lya kich) D02 (rez)
Seventh grade: Seventh-graders experience some psychological and physiological changes, emotional states, and signs of relative fatigue in class. Students' moods change during the lesson. In this case, the only condition for achieving the objectives of the lesson is to thoroughly study each child in the class and conduct the content of the lesson at a high musical level. During this period, most children experience a period of mutation, although the voices still sound resonant. The teacher should not violate their and the amount of singing. not to fill the hchi range
The main task in educating a person with the help of music is to teach them Uzbek
to convey all the riches of musical culture accumulated throughout the entire history of the development of music, they must be absorbed into the consciousness. Indeed, in this process, national foundations are a natural and convenient ground for developing the musical abilities of young children
The art of folk music is divided into two types by its structure and style of performance. Popular folk melodies and songs are considered prone to the first type. These genres are also popular because they are simple and easy to perform, and although not everyone wants to receive special training from a teacher, they can be joined by performers at weddings, celebrations, and other ceremonies. rganib goes. As a result, performers of popular genres make up the majority among the people. Genres of master music in the oral tradition are difficult to learn and perform easily. Because their structure is complex, they consist of large peaks and complex rhythmic patterns. Therefore, to play professional music, you need to have rich experience, high performance skills, resonant and wide range of sound. Especially in the process of playing them, I sigh and moan
it is necessary to use executive expressions such as, which requires a high degree of skill. That is why it is possible to take years of lessons from mature masters-artists to learn the school of singing, great singing, epic epics and maqoms, which belong to professional music genres.
In the past centuries, folk music has been passed down orally from generation to generation, as notation was rarely used in our musical practice. Masters of folk music in the development of our musical culture and its legacy from generation to generation
The services are enormous. Every composer, musician and singer, who knew folk music perfectly, performed them with great skill and enriched our music by creating new melodies and songs, has won the great respect of our people. They were honored with such high titles as "Master", "Hafiz", "Mehtar".
That is why the singers who have won the respect of the people in our country have been awarded the honorary title of "People's Singer of Uzbekistan." There are many famous artists who are famous among our people. Ota Giyas Abdugani, Ota Jalol Nosirov, Domla Halim Ibodov, Mulla Tuychi Tashmuhammedov, Khoji Abdulaziz Abdurasulov, Yunus Rajabiy, Shorakhim Shoumarov, Leyi Bobojanov, Usta Shodi Azizov, Matpano Khudoiberganov, Madrakhim Yakubov (Sheroziy), Matyokid Harratov .
At the present time, when the work of building a new society in independent Uzbekistan is in full swing, it is necessary to develop the young generation in all respects, increase their love for the Motherland, spiritual development, spiritual and political consciousness and aesthetic and moral education. The art of music, especially the art of music, is extremely important in its power of influence. Because it is the most ancient, at the same time modern and a favorite art of the people.
Basic concepts:
A person as a member of society is a carrier of self-awareness and thinking, objectivity of activity, communication and awareness.
Human development is the process of forming an individual by external and internal, manageable and uncontrollable factors.
Ability is the individual psychological identity of a person
included in the psychological structure, the success of any activity
and the acquisition of knowledge and skills that are relevant to the performance
is a feature that explains its speed, lightness.
The goal is always imagined, developed imaginary perceptions about future results.
Music is an art form that creates an image with different sounds and has an ideological and emotional content.
CHAPTER II: THE BEGINNING OF CHORUS CULTURE IN UZBEKISTAN AND
DEVELOPMENT
2.1. THE BEGINNING OF CHORUS CULTURE IN UZBEKISTAN AND
DEVELOPMENT.
The program includes songs with a variety of vocal and musical features. Each of them serves to develop certain skills in vocal and choral work. The teacher took into account the capabilities of the class. in the case of year-round teaching uclum selects 10-12 songs and regulates them in a certain way, taking into account the level of performance of the vocals and the relevance of the artistic content to school life.
The basis of musical education of students is to sing in the choir, because the task of developing the ability to music, love and interest in the art of music is successfully fulfilled by students in the course of their activities. The vocal and choral skills acquired by students in the lower grades will be improved, these skills will ensure the correct and effective singing of songs, and will help to improve and nurture children’s voices. The clarity and clarity of the diction helps the song to be comprehensible and contributes to its clear and meaningful performance with an artistic image.
Children's vocal apparatus, music reading grows with age. Therefore, the skills of singing, the basic elements of sound: breath planning, sound production, diction, word ensemble are given in the program separately for each academic year. In the process of learning, all of these elements are inextricably linked. Each of the above elements is sung in all classes.
enters the content of his work and gradually strengthens, changes in quality and develops in a complex singing repertoire.
Particular attention should be paid to seventh-graders, as at this age most boys and girls have a period of mutation (voice changes). At this time, the voice of 13-14 year old boys changes dramatically. Boys, in particular, have their voices declining and their vocal range falling. Even after the sound has changed, i.e. in the initial period after the mutation (called the male condition conditionally 2), the range of sound is often limited, the timbre characteristics of this sound being uncertain. These necessitate the restriction of the repertoire in an appropriate manner and careful selection. More two-voice repertoire is recommended at this time. Boys can repeat a song sung in a soprano or lower voice in an octave lower tone. Some boys this age still sing in a childish voice, that is, in a voice that corresponds to the soprano and sub-voices. However, both the range of male vocalists and male vocalists may be limited (at some quintet-sex levels, Do1-lya bemol 1, lya1). That’s why boys shouldn’t sing parts of a song that don’t fall within their range. Singing is a complex psychophysiological process. According to Ashula, almost all organs of the child's body, especially sound-producing articulation, respiratory organs and nervous tissue (nervous system) are actively involved. If you sing one of these bodies. if it malfunctions during the process, it may damage the sound apparatus and the sound formation.
It is therefore one of these organs in the formation of vocal skills
must interact in time and achieve normal operation. These activities greatly contribute to the smooth, calm, wavy outflow of breath and the good development of speech pronunciation. Special vocal exercises in developing music reading, voice care, and vocal chorus skills, i.e., singing between three voices, low-pitched, or high-pitched sounds, and parts of its fifth or octave scale, are performed in unison, mostly in the form of yallas or reciting passages from songs and "rhythmizing the voice" are of great importance.
The ability to sing according to the note is also developed through a similar exercise. Each class is given 3-6 minutes for this type of exercise. The program is accompanied by a musical instrument and singing without accompaniment.
Singing without accompaniment (a'capella) helps to increase the reading of music, to sing polyphonic songs in unison, to harmonize, to increase attention. When a musical instrument sings with an unaccompanied chorus, both the teacher and the students are well aware of all the inaccuracies in the song. This is the importance of learning to sing without accompaniment.
In addition to the songs shown in the program, the teacher can also choose from new songs announced through the press, radio, or television. You will also be given the right to move some songs from quarter to quarter or from class to class. It is important that children learn in the classroom so that they can understand and perform the songs in an effective way. It depends on how the song is learned, how convincingly the teacher is able to reveal the artistic image in the song. Good preparation of the teacher for the lesson
is an essential condition for successful song teaching. She should know the song she is learning for the first time with the children very well and sing it correctly and effectively. Only after the teacher has thoroughly studied the song can it be taught to the children. It is necessary to analyze each song, even the simplest, very carefully, to know its ideological content and to determine by what means of expression this content is reflected in music. The plan for the performance of the whole song is determined in advance, and the content of the conversations of the teacher in the classroom, that is, the main tempo of the song and its deviations, variations, sound characteristics are conceived. If it is possible to vary the tone of the song by performing methods such as singing with the mouth closed, alternating choirs and soloists, the teacher should determine where to use these techniques and which of the children should be solo. yadi. He specifies which words of the song need to be highlighted and quoted to enhance the effect of the text. It is also important to know the technique of singing a song, where to use breathing, which aspects of the song are difficult, why it is difficult for children to master, and which aspects are easy to master. Once the teacher has identified the complex parts of a song, she can find tools that make it easier to learn them. For example, if these positions consist of intonation difficulties, auxiliary exercises are created.
II. There are several key points in the song teaching process:
1. The teacher sings a song;
2. Conducting an interview;
3. Teaching the lyrics;
4.Training a song sheep;
5.0 Strengthen the learned song;
6. Work on the artistic performance of the song
It is important to follow such times when teaching any song. The sequence of doing this depends on the nature of the song being studied
depends on.
TEACHER PERFORMING THE SONG
- The teacher's performance of the song is an important moment in the process of teaching it. The clearer and more effective the teacher's performance of the song, the clearer and more impressive the song will be for the students, and the easier it will be for them to learn the song. As children listen to the song with a strong impression, they want to learn the song faster. So children need to get used to sitting quietly and listening to songs with great attention. The teacher can play the song from beginning to end or in part. If the song reflects the landscapes, the seasons, the general content and mood, it is enough to perform one part of the song, and the other parts will be read without staging. However, as in the case of songs and hymns about some heroes, historical events, if the general path of song development is known, it is preferable to perform the song in its entirety to give children the impression of a holistic artistic image. .
Conversation. before teaching a song, usually the content and musical sensitivity of the song, the composer who wrote its music, and the poem
a conversation will be held about the poet who wrote. This conversation can take the form of an introductory speech before the student plays the song and a concluding speech after the introduction. The introductory word should be extremely short and have a different meaning. For example, the teacher only says the name of the song, the name of its composer and poet, or tells 1-2 bright stories from the life and creative path of the composer who created this work. A conversation will be held before the performance of songs and chants dedicated to historical events and heroes. The purpose of this is to increase the children's impression of this song. The children themselves can also take an active part in such a conversation. They tell what they have heard or read about some of the stories and heroes. If unfamiliar words are encountered in a song, the unfamiliar words are explained before listening to it so as not to complicate the children’s cognitive process and distract them. There will be a much more detailed conversation after the song is performed, but this conversation should not be too long. The children are impressed and inspired as they listen to the song performed by the teacher. They want to think about this song. This desire is a very important part of the lesson. But in this matter, it is impossible to allow itself to be chaotic and chaotic. The teacher should direct and direct the conversation. In doing so, he asks the children a number of questions: What is the song about; what characterizes his music; it is heavy - whether it is said slowly or quickly; whether it sounds like a marsh song or a dance song; how the children enjoyed the adventure, and so on. In addition, the teacher in this conversation aims to strengthen the artistic image in the song, giving the children new knowledge and insights
should help them understand the means of musical expression in an understandable way.
In some cases, it is a good idea to play the song a second time after the conversation to remind the children. After the song is played and a conversation is held about it, the teacher begins to teach the song directly.
Teaching the lyrics of a song is closely related to music, which is a tool in the song that has a powerful effect on the human mind. It is especially important that these two components play an important role in the teaching process of a song. Children need to be taught to memorize the lyrics of a song quickly and easily. In the lower grades, the text of the poem is taught directly in the classroom. This is because children are still unable to write quickly and safely, and writing a poem takes a lot of time. In a lesson, the teacher usually reads a quartet (a busy poem) or part of it four times, depending on the complex type of literary work; then invites the children to repeat the text aloud with them. The teacher must pronounce the words in the text correctly, effectively, clearly. It is important to require students to pronounce the same. It will be useful for them to read the text in a whisper, but in a melodious manner; such reading activates the articulatory apparatus.
After the whole class repeats the text of the song 2-3 times, some students are asked to decipher it. At the same time, other students should listen carefully to the poem and repeat it in their heart so that they can correct the mistakes of their peers. It is preferable to return the text “chained”: one child reads the first line, another child reads the second, the third child reads the third line, and so on. k. Such reading attracts children's attention
should help them understand the means of musical expression in an understandable way.
In some cases, it is a good idea to play the song a second time after the conversation to remind the children. After the song is played and a conversation is held about it, the teacher begins to teach the song directly.
Teaching the lyrics of a song is closely related to music, which is a tool in the song that has a powerful effect on the human mind. It is especially important that these two components play an important role in the teaching process of a song. Children need to be taught to memorize the lyrics of a song quickly and easily. In the lower grades, the text of the poem is taught directly in the classroom. This is because children are still unable to write quickly and safely, and writing a poem takes a lot of time. In a lesson, the teacher usually reads a quartet (a busy poem) or part of it four times, depending on the complex type of literary work; then invites the children to repeat the text aloud with them. The teacher must pronounce the words in the text correctly, effectively, clearly. It is important to require students to pronounce the same. It will be useful for them to read the text in a whisper, but in a melodious manner; such reading activates the articulatory apparatus.
After the whole class repeats the text of the song 2-3 times, some students are asked to decipher it. At the same time, other students should listen carefully to the poem and repeat it in their heart so that they can correct the mistakes of their peers. It is better to return the text "chain">: one child reads the first line, another child reads the second, the third child reads the third line, and so on. k. Such reading attracts children's attention
activates. From 2nd grade onwards, students should keep a separate notebook and write down the text of the songs being studied. In grades 3-7, the teacher recites the text of the song. In the lower grades, the text of the song should be studied according to a special table - posters or notes on the board. In the upper grades, the teacher brings 2-3 copies of the new text to the class and asks the children to copy it. In addition, in the upper grades, the method of memorizing the lyrics of the song is studied directly in the classroom. Short and simple texts can be learned in one lesson. But there are also poems in which a verse itself consists of two or three parts. Such poems are mastered over several lessons. If the time spent trying to do this work in one go is spent on studying the snare, the method will be methodically incorrect. It is not necessary to study the words of the first verse carefully, because in the teaching of melody these words will be repeated many times and will be remembered. However, it is not advisable to teach the following verses in this way, as children now know the melody much better and do not have to repeat the text over and over again as they repeat the melody many times. Therefore, the text of the new paragraphs should be studied more carefully.
Once you have mastered the text of the first verse of the song tune teaching, you can start teaching the song tune. This work requires the attention of both children and the teacher. Before teaching the melody, the children should be well reminded by playing it on any musical instrument or reciting the first verse of the song. As a result, they get a much fuller impression of the song being studied. Children
they can begin to teach parts of it as they become acquainted with a new melody unfamiliar to them; then the children form a perfect musical image from those parts. There is a certain consistency in learning the melody of a song. Usually the melody is studied in terms of musical content. First the first content, then the second, third, and so on. k. Content is analyzed and taught. The teacher says each of them in a tone and plays 2-3 times, then asks the children to recite a certain content with them in a tone. Normally, children may not be able to sing a song boldly at first, but they will become more bold due to a few repetitions. If the content is not clear enough to the children, play and tell it 1 more time. At this point, it is important to know the norm and not dwell on it, even if a certain content is not sufficiently mastered. It should be borne in mind that in this case, children's attention is weakened, so they become tired and passive, which negatively affects the outcome of education. So it’s nice to get back to the hard part of the song later.
The complex parts of the song need to be studied especially carefully. Difficulties at this time may be associated with unusual intonations (circles), the following jumps in the song, the inconvenience of alterations, etc. Such difficulties need to be overcome diligently and diligently, because if the melody is not studied properly, it will be extremely difficult to correct the mistakes, and sometimes it will not be possible to correct them. In this case, the teacher warns the children not to repeat the song at home so as not to make mistakes. It is also difficult to learn the melody due to its rhythmic complexity possible
Mastering a rhythmic form of melody that is complex for children’s perception can be facilitated by clapping. The places where a certain note of a certain steam of the song is sung make the children wear it from time to time. It is useful not to sing such places with poetry, but with neutral syllables such as "It is necessary to use different methods in the process of song teaching. It’s natural to have kids in every class who are cheerful, sometimes, and very talented at music. They will be the teacher’s assistants in learning the melody of the song. It is useful to check how well the children know the melody of the song, as if organizing a competition between the rows of desks in the classroom, so this method helps to activate and inspire the children creatively. From 3rd grade onwards, the simplest songs can be learned based on the note. To do this, the teacher prepares a song record on a large poster or on the class board before the lesson begins. All of the kids are at the same time before they start doing solfeggio
reads the notes 2-3 times, after which they should solfedjio the melody a few times and then try to say it in words. From the 3rd grade onwards, the lesson explores more difficult three-voice songs than two-voice songs in addition to one-voice songs. In the study of such songs, each part should be studied carefully and in the same way as a single-voice song is studied. Here the teacher should always be in control of himself and should not be overly attached to the shiga of any choir party. Otherwise there will be chaos and noise in the classroom. However, this should not be allowed under any circumstances. You have to work alternately with one party or another. After the teacher has taught the initial content to the students in the first voice, he or she teaches that content to the students in the second voice. After that, it is necessary to unite the two parties and focus on the second vote.
All subsequent contents are studied in the same way. They are then combined as if learning a vocal song. One lesson is not enough for children to remember the bottom of the song and the lyrics well. For this reason, the spoon is repeated many times over a period of time and is gradually studied.
WORKING ON ARTISTIC PERFORMANCE
When working on a song, a lot of space is given to giving it an artistic design. This aspect of the work takes place in conjunction with the whole process of work on the song, only at the very initial stage it is necessary to concentrate all the children's attention on the most necessary task during this period: mastering the intonation of the song. As the relevant content begins to sound smooth, pay attention to other details: the tone
character, phrase, tones, diction, and so on. Once the song is mastered, a period of serious work begins on revealing the author’s idea. But don’t get bored with the kids by giving in to this side of the work and pausing from time to time while singing. As the children sing the song boldly, no doubt they will want to perform the song in its entirety; if the song continues to split, it will lead to a decrease in interest in the work. It is therefore important that the teacher knows the norm in this work and explains the specific content, intonation, reason for repeating the word each time. For example, children sing the melody correctly and say the words vaguely. The teacher warns the children that they cannot understand the words of the song. If the children are able to sing with vague diction, the song should be divided and reprimanded. Then attention is drawn to other details, such as sound, hues, and so on. But it is important to remember that putting several tasks in front of children at once means that in practice you will not be able to do any of them.
After working on the details of the performance, it is necessary to be able to learn the song in time, the high song will never sound good and firm. As the teacher works on the artistic image, he or she should clearly show the children the need for different performance techniques and try to make them perform them consciously rather than involuntarily. If a song starts to bore children, it is better to temporarily stop the work on it and return to the same song after the appearance of new songs in the repertoire. At the end of a quarter or half of the school year, one lesson can be devoted to repeating all the songs and chants previously performed, for which a small class
2.2. DEVELOPMENT OF PROFESSIONAL CHOIR ART
Although the imagination of 2nd graders and partly 3rd graders is somewhat better, it is less different from the imagination of first graders because the 2nd grader and partly 3rd grader it is less distracting, and now it has more impressions that are stored in the memory and use the imagination.
Grade 3 students want to see with their own eyes how an event is happening, and they have a desire to participate. There will also be significant quality changes in self-control in 3rd and 4th grade students. Students will gain control techniques and skills during the 2-year study. From the 3rd grade onwards, students' imagination, cognition and imagination improve.
It is advisable to take into account the above-mentioned conditions of physical growth and mental change of students in the implementation of the process of musical education.
Elementary students are confident and receptive to external impressions. As our great scholars have pointed out, a person's character is formed in the first years of his life more than anyone else, and the qualities that emerged during this period are firmly established in him. The primary responsibility for the formation of positive emotions, qualities in the child, the formation of high moral norms falls on the primary school teacher. At this age, in education, every word, every action, every style of influence of the teacher serves as a criterion of truth for him. Because students have a strong belief in their teacher, listen to his feedback
They are seriously influenced by his pedagogical skills, always follow his requirements, strive to fulfill the tasks assigned to him. According to psychologist E. Goziev, at the same time for the teacher: a) influence on the spirituality of students, positive
supporting their feelings and good intentions; (b) Encourage them to help those around them, to teach them to think correctly, to refrain from unknown actions, to observe natural landscapes and to listen to music; (c) Explain to them their sense of duty; g) books read with them, seen. the opportunity to discuss the spectacle arises.
Professor N.F. Dobrinin: “Students in grades 3-4 are able to maintain their focus throughout an entire lesson. But short breaks are also good for them. It is also necessary to change the type and pace of training from time to time, adding practical and theoretical information. "
It is explained by the fact that the volume and content of music-teaching materials for third-graders is also significantly expanding.
In the third grade music lessons, the topic of the 1st term is "Understanding the means of expression of music, its essence and significance."
Theoretical knowledge and skills of students, such as the structure of the melody, its musical expression, mastered in the second grade, are mentioned and repeated at the beginning of the 3rd grade. From the first lessons, students are given information about how the melody is structured, the melody and the method. Echoes of the means of expression on the example of the melodies "Dilxiroj", "Rohat", "Jamalagim" (Uzbek folk melodies and songs), M. Mirzaev's "Jonon", G. Kadyrov's "Dance" recommended at the stage of listening to music.
power, pauses, timbre of melodies, etc. are explained.
Before performing as a group, students are given guidelines on how to sing, how to plan your breathing, and how to make a sound. In particular, the situation with singing:
Improving the skills acquired in grades 1-2, achieving a free position of the body, head, shoulders, arms and legs, as well as the vocal apparatus when singing;
- Continue to work on proper breathing skills in the planning of breathing, to prevent the occurrence of breathing in the chest, to be able to stop the deep breathing, to form a basis for singing, especially the upper and lower to develop skills of economical use of notes when singing;
- to create songs in a light, smooth, soft and resonant voice, such as songs about courage, bravery, not to allow the sound to be rough, rough and uneven, og. When singing long sentences in fast-paced works, it is necessary to pay attention to the systematic distribution of breath and the formation and development of other skills.
Singing songs with two vocal elements according to choral skills, including being able to sing the sound part independently and at the same time. it is necessary to develop the ability to hear and observe the second sounds, to sing alone, in groups or with the whole class, to sing songs, to strive to reveal the content and character of the work in the voice.
At the stage of singing as a group "Keng Turkiston"> (N.Norkhodjaev
music, poem by P.Mumin), "I am a bud" (music by H.Rakhimov, poem by N.Narzullaev), "My golden cotton is my white" (music by N.Norkhodjaev, P. Momin's poem), "I am happy" (music by H. Rakhimov, poem by S. Jabbarov), "Humo kushim" (music by D. Omonullaeva, poem by P. Momin) skills are studied. In the process of singing in groups, children are expected to pay attention to pauses (punctuation marks), to master octave and quarter pauses, as well as to understand the level of pitch in songs, to acquire theoretical concepts such as measurement, method.
Singing exercises and songs to the accompaniment of the teacher's voice ("Stars >>," Locomotive "), singing major and minor voices in 2q4 and 3q4 quarters and semiconducting notes. , pauses, gain theoretical knowledge about quarterly pauses.
Playing on musical instruments and performing rhythmic musical movements are performed on the basis of melodies such as playing circles, rattles, spoons and other percussion instruments, and rhythmic accompaniment to music ("I threw an apple", "Jonon"). There are also exercises to imitate simple methods in the mouth, to sing the sounds of musical instruments, to find dance moves and dance ("I threw an apple", "Jonon", etc.).
The year will be based on general concepts about “Choir and Orchestra”. At the stage of listening to music it is recommended to listen to the following works: "qilpillama" (Uzbek folk lapari, "Usmoniya" (Uzbek folk song), "Samoi Dugoh" (from Tashkent-Fergana maqom roads), "Kuylayman >> А. Mukhamedov's music), "Qorasoch" (Uzbek folk song).
Singing as a group "Oppoq kandim"> (music by F. Alimov,
Poem by P.Mumin), "At the height of our song" (music by T.Azimov, poem by G.Kamilov), "Let's play the snowball" (music by S.Abramova, poem by B.Isroilov ), "New Year's song" (music by K.Abdullaev, poem by V.Hikmat).
At the stage of singing with notes, students will be introduced to the skills of singing and singing songs according to the teacher's voice, understanding the structure of major and minor, distinguishing them in the description of works, understanding the importance of speed and method in the formation of musical descriptions. It is also possible to define the descriptive features of the listened works in the expression of methods, to click on simple methods according to the note, to sing exercises and songs accompanied by circle methods, to conduct 2q4 and 6q8 measurements, to make extensive use of musical creativity in the content of lessons. determines the content of the stage activity
The theme of the Ill-quarter is “The Structure of Music. The repetition of the melody is immutable and dedicated to the music. variable return "
It explains the meaning of the repetition of the melody - "reprise" or "return" in the music, and the lines of the notes indicate the spelling of these characters. The term "reprise" in music is reinforced by the following poetic description of D. Omonullaeva:
The main part of the tune
It sounds again.
This is on the edge of the section
There is a reprise sign.
In music, the repetition of certain parts in the melody is “Lazgi”, “Rock
kashqarchasi ”,“ Norim-norim ”,“ Nayrez ”,“ Dilbar ”,“ Raqs ”and other melodies. About the nature, content, means of artistic expression, the artistic value of the work in general. After the students are asked, their opinions are summarized and the information provided by the teacher is enriched.
«Nisholda»>
(Music by D.Omonullaeva, poem by R.Talib), "Snow" (music by Sh.Ermatov, poem by Zulfiya), "Cheerful children's song" (music by G.Kadirov, music by H.Kayumov In the process of studying such songs as "Boychechak" (music by A.Rakhmonkulov), "Binafsha" (music by D.Zokirov, poetry by P.Mumin), the return part of the works is observed from the texts of the notes, in the process of singing, the skills of following it are formed. This topic is further strengthened by providing information on the constant and variable return of the tune. The hunters are given information about the meaning of the abbreviation characters, i.e. from the beginning to the last word, (end), i.e. from the sign of the scene to the end, from the beginning to the sign, and then the code is passed.
In the fourth quarter, students will be introduced to "Simple Forms of Music, Bands and Reflections."
In Grade 3, students learn about music as a means of expression (musical discourse), its structure, repetition, immutable and variable repetition of music, as well as general theoretical knowledge of simple musical forms, busy and repetitive topics. , skills and competencies. They will have a brief overview of the general structure of music as well as one-part, two-part, and three-part works.
At the stage of listening to music "State of the Republic of Uzbekistan
Anthem »,« (poem by T.Mutalibov, translation by Mirtemir , Music by G.Huseynli).
At the stage of collective recitation, students will sing "My lambs", "We will be the moon, we will be a wedding" (poem by S. Barnoev, music by H. Rahimov), "Laylak" (music by G. Kadyrov, Uygun she 'ri) learn songs like. Songs such as "Salimjon-nimjon", "Kakligim", "Song of infantry", "I'm looking for a rainbow" are also recommended as additional material. Students will also acquire the skills to achieve expressive singing, to distinguish between busy and refreshing, while learning these songs. The nature of the melody and the melody determine the distinctive aspects of each other.
Improving students' musical literacy Singing major and minor trinities and vowels according to the note, separating them according to the tone of the melody, singing the trinities based on the main screen, determining the tone of the songs according to the melody, forming an understanding of repetition at the height of our success ”). There are also exercises to set the tactile lines according to the size of the short melody exercises given in the dimensions of alteration - diez, bemol, bekar, 2q4 and 3q4.
It should also be noted that the fact that musical materials are recommended in the program, the teacher has the opportunity to choose from them, taking into account the interests of students, their musical needs, helps to organize music lessons more interesting and effective.
Thus, at the end of 3rd grade, the knowledge and skills acquired by students in the field of music culture should meet the following criteria.
The knowledge, musical perception, and utterance generated in the second grade. to develop skills, to determine the parts, descriptions and content of the work by the method of mode and rhythm, to have an understanding of the general structure of the work - one-part, two-part, three-part and busy, refrain;
- to know the difference between the ensemble and the orchestra, to get acquainted with the main instruments of the Uzbek folk instruments in the orchestra and to distinguish them from the color (timbre) and register;
- to get acquainted with collective utterances and their main types of sounds;
- Distinguish the types of sound and musical instruments from the register and timbre;
- In the process of studying the works to get acquainted with the works of composers M. Burhanov, M. Nasimov, D. Zokirov, G. Kadyrov, M. Tojiev;
- Strengthen the skills of speech in the second grade (sound range: D01- RE2. accustomed to expressive singing, pure intonation in singing, clear, fluent and bright pronunciation and correct breathing;
- Singing in 2-3 voices with one syllable in speech exercises, legato sound,
fast and slow singing in the form of non-legato, stakatto, two-voice exercises and songs with episodic and independent melodies, etc. Singing one- and two-voice songs without accompaniment (acapella);
is to understand and follow the conductor’s gestures
must be.
Students in the singing stage become composers
The team will present R.Abdullaev and M.Mirzo's "Birds in flight", Sh.Yormatov's "Oymomajon rom bo'ldi", N.Norkhodjaev and poet P.Mumin's "Zavqing sach, qalgorgach", A.Mansurov and H They learn Kayumov's songs like "Good schoolboy!"
In close connection with other stages of music literacy activities, attention is paid to strengthening the knowledge and skills acquired by students in the previous quarters in the process of practical training, to determine the resonance of major and minor modes in the works. At the same time, work is being done to further develop the skills of singing the tonal triads of works with one key character (sol-major, minor, major, re-minor).

By the end of the fifth grade, students 'theoretical knowledge and practical skills in music education should include: • students' solo and instrumental ensemble, folk instruments.

orchestras
be able to distinguish the differences from the works he listened to in grammar, to be acquainted with the main group of instruments in the orchestra, to know the family of instruments in the example of the orchestra.
be familiar with the symphony orchestra on the example of the national instrumental orchestra, be able to distinguish between the national orchestra and the symphony orchestra in general grammar;
- be able to identify the types of orchestras in the conversation (folk instrument orchestra, symphony orchestra, variety symphony orchestra, wind orchestra, chamber
orchestras);
- knowledge of the structure of the choir, types of choirs (children's choir, mixed choir, women's choir, etc.), famous choirs and conductors; - Knowledge of vocal-symphonic works in the genres of poetry, suites and cantatas, the work of authors in these genres
know their activities;
- General information about the genre of musical drama, the work of its famous composers and composers, the peculiarities of the opera genre, musical drama and opera genres, Uzbek opera composers M. Ashrafiy, Sabir Boboev, Mutal It is worthwhile to get acquainted with the works of Burhanov, Sayfi Jalil and others.
For this purpose, at the stage of listening to music, students were taught "In my heart" by composer S. Jalil for the Uzbek folk orchestra, "Poem" by M. Bafoev, "Patterns" (for dutar and orchestra), T. Kurbanov's " Sevinch », S.Yudakov's vocal suite« Mirzachul »(part of« Harvester's song »).
Students will also learn about the art of choir, types of choirs (children's choir, mixed choir, women's choir, etc.), get acquainted with the works of famous choir conductors - Abdukakhor Sultanov, Botir Umidjanov, Ahad Hamidov. mentioned
In order to sing in groups, the State Anthem of the Republic of Uzbekistan (music by M. Burhanov, poetry by A. Aripov), "Dear teachers"> (music by S. Boboev, poetry of the Wave), " Vocal works such as Hur Respublikam >> (music by A.Mansurov, poem by H.Kayumov), "Boychechak" (folk song, adapted by Sh.Yormatov for children's choir) will be studied.
In the example of the National Orchestra, students should be able to get acquainted with the symphony orchestra, and be able to distinguish the national orchestra and symphony orchestra from the common sound in magnetic recording. During the interviews, students should be able to identify the types of orchestras (folk instrumental orchestras, variety-symphony orchestra, wind orchestra, chamber orchestra structures).
In order to increase the musical literacy of 5th grade students, it is important to strengthen their knowledge and skills acquired in the primary grades. During the first quarter, skills such as singing major and minor base sounds in three voices, determining the harmonic major and minor triple sounds from the sound played on a musical instrument will be developed during the lessons. It is also worthwhile for the teacher to pay more attention to the students' singing exercises and songs based on the notes, and to the practice of singing in a non-consonant (acapella) style based on the notes.
Knowledge of vocal-symphonic works in the genres of qasida ("Alisher Navoi"), suite ("Dilbarim">) and kantana ("Mirzachul"), the works of famous representatives of these genres M.Burhanov, M.Nasimov, S.Yudakov and others it is recommended to get acquainted closely.
During 5th grade lessons, students should be familiar with the genre of musical drama, the characteristics of stage musical works, and enjoy information about the dance-ballet genre in musical drama. For this purpose, using technical means to listen to excerpts from the ballet "Swan Lake" by PI Tchaikovsky, excerpts from the musical drama "Tomaris" by U. Musaev, "Tahir and Zuhro" by T. Jalilov
gives good results. It is also worthwhile to listen to excerpts from the work of the great representative of the Azerbaijani musical drama U. Hojibekov "Arshin mololon" in comparison with the Uzbek musical drama.
Along with listening to these works, it is necessary to acquaint students with the works of famous composers and composers of the genre of musical drama M. Leviev, Y. Rajabi, T. Jalilov, Mirkhalil Mahmudov, S. Jalil. This will help to further enrich students ’perceptions of the musical drama genre.
"Sumalak" (music by Sh. Yormatov), ​​"Mother's hands" (music by G. Kadyrov, poetry by T. Illhomov), "Our flowers in the bag" (music by N. Norkhodjaev, P. Songs such as the Believer’s Poem) focus on developing students ’ability to sing together.
Being able to determine the dimensions of musical literacy from the rhythmic methods of songs of 2/4, 3/4 and 4/4 sizes, such as conducting, as well as to imitate 6/8 scale works by clicking with a finger in a circle or by voice learn to sing, do major and lya minor lads in the form of exercises and key expressions in the example of works.
In the last quarter of the 5th grade, students got acquainted with the genre of opera, ballet in the composition of the opera, the peculiarities and differences between the genres of musical drama and opera, famous Uzbek opera composers M.Ashrafi, S. It is planned to get acquainted with the works of Boboev, M. Burhanov, S. Jalil and others. For this purpose, for the stage of listening to music M. Glinka's "Ruslan and Lyudmila"
fragments from the opera, arias and duets from the opera Dilorom, and the work of Maysara expand students' artistic perceptions of the opera genre. hnavi musical works include opera, ballet, musical drama and comedy. In particular, F. Kozlovsky's "Tanovar", M. Ashrafi's "Tumor of Love", Ulugbek Musaev's "Indian Epic" and "Tomaris" ballets.
Ballet is a form of dance. This type of art has existed since ancient times. There are many types of dance: folk dances, ballroom dances, classical dances and ballet are divided into specific genres. Ballet is an Italian word that means ‘I’m going to dance’.
The above information is enriched with insights into Uzbek ballets.
The art of ballet appeared in our country in the early 30s. The first Uzbek ballet "Cotton" (composer Roslovets) was created in 1933. In recent years, a number of Uzbek ballets have been created, such as Ikrom Akbarov's "Dream", D. Zokirov and Gienko's "Oynisa", M. Ashrafi's "Tumor of Love".
Uzbek folk dance is one of the ancient arts. In the art of dance, too, the uniqueness of each nation is reflected in the expression of music and movement. The art of dance includes national costumes, types of movement, and styles.
In 5th grade, it is also fun for students to learn about the genre of musical drama and comedy. Along with all genres of musical art, genres of stage productions such as musical drama and musical comedy are widespread in Uzbekistan. The arrival of the opera genre from Europe and the creation of many works in this genre were pre-formed and created in us
based on staged musical works, dramas, comedies. "Jalil and Zuhro" by T. Jalilov, "Golden Lake" by M. Leviev, "Layli and Majnun" by T. Sodikov and R. Glier and others are typical for this genre. In particular, such musical comedies as M. Leviyev's "Toshbolta oshiq" and I. Akbarov's "Ojarlar" serve as a creative example of future musical dramas and comedies.
The opera genre also plays an important role in Uzbek music. Opera means ‘creation’, ‘work’. Before writing an opera based on a literary work, a writer or poet reworks that work in a poetic way and creates a libretto.

The famous opera "A Tale of the King Sultan" was written by Russian composer Nikolai Andreevich Rimsky-Korsakov. Rimsky Korsakov was a sailor in his youth. After graduating from naval academy, he served on military ships. However, he loved music more than the sea, and that’s why he decided to become a composer. He wrote many works, symphonies, romances, operas. For example, the operas "Snow Maiden", "Golden Rooster", "A Tale of the King Sultan" are among them.

Information about the genre of opera in Uzbek music, the first Uzbek opera, its author, the content and idea of ​​the works are given through a conversation with the teacher.
Mukhtar Ashrafi is the author of the first Uzbek opera. M. Ashrafi was born on June 11, 1912 in Bukhara in a family of musicians. He took his first music lessons under the guidance of his father. He then entered the Oriental Music School. He diligently learned the secrets of music from famous musicians in Bukhara. Then he entered the Samarkand Institute of Music and Choreography. At the institute
M.Ashrafi was educated by famous masters of music and soon became known as the first Uzbek conductor.
At the same time, he worked diligently and creatively to write new contemporary music.
M. Ashrafi was the first to introduce a symphony orchestra to the Uzbek Drama Theater. In 1939, in collaboration with his teacher Vasilenko, M. Ashrafi created the first Uzbek opera "Storm", and then he wrote the operas "Dilorom", "Heart of a Poet".
For many years, Mukhtor Ashrafi served as rector of the Tashkent State Conservatory. Ashrafi died in November 1975.
The information outlined above is further reinforced by understanding the works suggested during the music listening phase. During the 4th term, the teacher may submit the following works for listening using audio or other performance methods.
1. Excerpts from the opera "Dilorom". M.Ashrafiy
2. Excerpt from the opera "Yoriltosh"
music.
3. Excerpts from the operas "The Tale of King Sultan", "Sadko". Rimsky-Korsakov music.
4. Excerpts from the opera "The Magic Lamp of Alovuddin". S.Varelas
music.
At the end of the quarter it is possible to organize a game of musical puzzles from works of different genres listened to throughout the year.
The vocal range of 5th grade students is Do- Mi2- first sounds, Si minor (Do1- Do2- Re2) second sounds.
The following requirements are set for students when singing: -Razryv stranitsy
CONCLUSION
Thus, pedagogical mastery is an important issue as a basis for the professional activity of a music teacher. The importance of pedagogical practices in the formation of pedagogical skills of a future music teacher is also great. After all, students test and apply the theoretical knowledge acquired at the university in the educational process of the school. They deeply understand the essence of the profession of music teacher, its importance and place in the spiritual development of students. In the professional activity of a music teacher, special attention is paid to the art of public speaking and advocacy skills. Being able to understand music, the artistic word serves as an important tool in its emotional perception, of course. In this process, the word art can never explain the depth of music, but without the "word" it is impossible to approach this area of ​​perception, it has a special emotional power, it is extremely valuable in expressing music with its ability to adjust the delicate strings of the heart. the engine. Unfortunately, for many years in the system of music education, the subjects were focused on training more musicians-performers than on the training of music teachers. In many cases, the graduates were teachers who had a good knowledge of music, excellent performance on musical instruments, but the culture of speech was not well developed. The fact that the pedagogical training of the trained specialists was much lower than their executive skills was a clear demonstration in practice. The negative effects of this can be seen even in the practice of music education today. In particular, the speech skills of many music teachers are not fully formed..
does not have sufficient vocabulary and thought richness in the installation. The beauty of written and oral speech is not always clear and fluent, and so on.
At a time when music education is on the path of renewal, among the professional qualities of a teacher, the perfection of speech is also of great importance. After all, today in the lessons of modern music culture the introduction of new activities such as children's playing musical instruments, performing musical-rhythmic movements, musical creativity requires from the teacher not only musical knowledge, but also effective speech pedagogical management. This means that the formation of pedagogical skills of future music teachers is one of the current problems of higher education.