e-ISSN : 26203502

International Journal on Integrated Education

p-ISSN : 26153785

Working on the Artistic Characteristics of Performance in the Teaching of

Instruments and Ensemble for Students of Higher Education Music
Musi

Ashurov Marufjon Abdumutalibovich

Andijan State University Faculty of Art History Associate Professor of Music Education

Abstract: Every teacher has their own style. However, it is important to be able to arouse
students' interest in the instrument being taught from the earliest stages of teaching. If a teacher
has earned the respect of the students,
students, through the durmat towards that teacher, the student will
develop a love for the instrument he is learning.
This article reveals ways to work on the artistic features of performance in teaching the subject
of instrumental performance and ensemble to students
students of higher education music.
Keywords: teacher, musician, sound, tattoo, performance technique, instrumental performance,
segi, emotion
---------------------------------------------------------------------------------------------------------------------
Introduction. It is well known to all musicologists that any piece of music is a work of art.
Performing it at the level of a work of art requires thorough knowledge and high skill of the
musician. The teacher must be able to instill in the future musician a love for the
t instrument. To
do this, from the earliest stages of teaching, it is necessary to include in the curriculum works
that resonate as well as possible on this instrument. When working on works, care should be
taken to ensure that a good sound is created through
through each tattoo given with the right hand.
Because the strength and quality of the musician's voice is one of the main criteria that
artistically expresses the performance. No matter how high a musician's performance technique
is, he cannot make a good impression
impression on the listener if he cannot reveal the artistic features of
the work. To do this, the musician must know his instrument well and master the expressive
features of the performance style, be able to use them as needed, be able to produce a clear,
melodious
elodious sound and control it.
Mastering such skills is more complicated and time consuming. In practice, there are musicians
who have a high level of performance technique, but can not play the melody. In the
instrumental performance class, as the teacher interacts with the student, in each masculine, the
student must constantly nurture the subtle nuances, such as the ability to dissect and perceive
music.
It is no coincidence that the XXI century is the information age. As modern students have access
to a lot of information through television, radio and video techniques and the internet at the
moment, their range of thinking is very wide. Therefore, the modern teacher must be aware of
the interests of these students, be able to hear and take into account their
their independent opinions,
and at the same time point out their shortcomings and guide them in the right direction. In this
regard, he should always take a creative approach to the teaching process and develop teaching
methods and technologies in a modern spirit.
Every teacher has their own style. However, it is important to be able to arouse students' interest
in the instrument being taught from the earliest stages of teaching. If a teacher has earned the
respect of the students, through the durmat towards that teacher, the student will develop a love
for the instrument he is learning.
It is well known that not all students are treated equally because teaching on instrumental
performance is individual in nature.
Students are different in character, mindset, and ability. While some of them show their musical
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International Journal on Integrated Education
p-ISSN : 26153785

abilities from a young age, some of them can be noticed a little later. Some are very talented, but
at the same time very cheerful, playful, some may be calm, moderately talented, but
hardworking, and so on. No matter how diverse the character of the students may be, the
requirements of education remain the same for all. That is why it is very difficult to pay special
attention to each student, which requires patience and in-depth
in depth study of student psychology.
psycholo
A teacher of instrumental performance is a person who is more closely involved in the education
of students than other science teachers. Because in the process of individual work, the teacher
deeply studies all aspects of the student. While the main goal
goal is to play the instrument and learn
its secrets, the interaction with the student during the entire academic year (elementary music
school, lyceum, college or university) allows to study the pros and cons of the student, the family
situation.
Therefore, it is better to gradually eliminate the negative qualities of the student using various
forms of education, to encourage his positive qualities, to take into account these qualities of the
student in the selection of the repertoire, work on performance, in
in general, in practice.
In addition, students may experience a variety of negative changes related to age and different
family circumstances. In such a situation, the teacher is required to thoroughly study the
situation, work with great sensitivity and care.
care. Such negative changes can be prevented by
inspiring the reader, strengthening his confidence in the future, encouraging him.
This is because in practice, there are cases when gifted students move away from the field
altogether due to any careless words or actions, or have negative opinions about the teacher,
towards music.
Pupils, whether in elementary schools, lyceums or colleges, respect and trust their teacher, who
teaches instrumental performance. This confidence can be achieved primarily by the teacher with
his high level of executive skills, thorough knowledge, responsibility for his work and culture.
The teacher will attract the attention of the students with his reasonable thoughts in any situation.
Expressing negative attitudes towards other teachers in front of students damages not only the
reputation of that teacher but also his own. On the contrary, according to the saying of our people
"great as a teacher", students should always appreciate the work of teachers and respect them. In
many problematic
oblematic situations that arise in the course of work, the teacher’s opinion should be
based on real facts. This is one of the main factors in the formation of the student's qualities such
as accurate analysis of reality and correct thinking, objective assessment.
ass
It is very important to have a sincere relationship with students. Such an attitude arouses in
students a love and interest in this instrument. As a result, it allows students to be active in the
classroom and in independent work.
On the contrary, any action that is insincere is quickly noticed by students. In their relationship
with the teacher, there are situations of coercion, of closing their minute relationship.
As a result of the sincere relationship between the teacher and the student, the student
s develops
the ability to exchange ideas and express their opinions independently. The student plays an
important role in the comprehensive musical development of future musicians-teachers.
musicians
There is no need to hinder the creative aspirations, creative suggestions that emerge in the
student body. On the contrary, trying to implement such suggestions at the level of opportunity
by constantly supporting them will further improve the teacher-student
teacher student relationship.
First and foremost, the teacher must be an example to the students. The teacher's assertiveness,
perseverance, and ability to do everything on time have an impact on students. In addition,
demanding and monitoring the timely completion of tasks assigned to students, preparation for
and participationn in concerts, various competitions fosters a sense of responsibility in students.
A teacher of instrumental performance should not only be a skilled musician, but also be aware
of general pedagogical psychology and all modern information, be interested in special literature,

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study the experience of famous teachers, constantly analyze and generalize personal experience.
Well-known
known teachers emphasize that one of the important aspects of teaching skills is that it is
inappropriate to find the good qualities in
in each student in time and pay attention to them, but to
expose their shortcomings that are not related to willpower and generally do not allow insulting
instructions.
“A teacher’s worldview, performance skills, teaching methodology and his or her thoughts on
performance serve as a crucial tool for shaping a future musician. One of the main tasks of a
teacher is to guide students to change their knowledge and skills. ”
Uzbek national music and performing arts have been passed down from our generations in the th
oral tradition "from teacher to student" and have come down to us in full preservation of their
artistic value.
The "teacher-student"
student" style has its own ancient traditions and advantages, it is no exaggeration to
say that the teacher-student
student relationship in the modern instrument performance class is a modern
manifestation of the "teacher--student"
student" tradition. So, it would be useful if a modern teacher of
musical performance would be aware of the secrets of the ancient traditions of the "teacher-
"teacher
student" style.
e. Therefore, the teacher-student
teacher student relationship is one of the decisive factors in the
student's transition from an ordinary student to a skilled musician.
Particular attention should be paid to the development of the student's musical consciousness,
memory and rhythm, as well as the ability to hear while learning the melodies of a particular
curriculum during the study period. To do this, the teacher himself can take a creative approach
to the teaching process, carefully monitor the students and find different
different opportunities to achieve
the goal. Let’s look at some of these.
1. The teacher performs any work for the student, analyzes it together and explains the artistic
aspects to the students; figuratively comparing the musical sentences in the work and
explaining
ning them through the reader's senses.
2. Listening to and discussing melodies and songs on magnetic tapes with students or
comparing 2-33 different performances of a work in Kashgarrubab and explaining their
differences, disadvantages and advantages.
3. If possible, study and play any work of Uzbek folk melodies with all students in the oral
tradition, without notes, along with the works in the program.
4. Participate in concerts within and outside the educational institution, listen to the moment.
After thee concert, of course, the teacher analyzes the performance of the concert and shows
the students the positive aspects of it. However, as experienced music teachers point out,
one of the most important factors in a student's ability to quickly master the material
ma is to be
able to perform the music as explained by the teacher.
5. Listening to and analyzing performances of other instruments at a concert or on magnetic
tapes, without analyzing only the works of Kashgarrubab. Listening to the same work in the
performance
rformance of Kashgarrubab and comparing and analyzing the possibilities, means and
features of their artistic expression, etc.
We mentioned in the barcodes section that each barcode has a different character in a particular
play. When performing works of European
European classics in Kashgarrubab, the reader can decipher the
artistic character of the work only if he understands the author and the author of the work, the
period, genre and direction of its creation. For example, European classicswhen performing his
works,
rks, the sound should have soft, clear, melodic qualities. In this case, the tattoo is given in the
middle of the mizrob, and with the fingers of the left hand it is necessary to press the curtains
sharply and sharply. While the amplitude of the movement of of the right hand is short and light, in
the samples of Uzbek folk melodies and shashmaqom, this tattoo is struck closer to the harrak,
and a resonant, clear sound is achieved.

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A similar trio bar has a completely different character in Uzbek dance tunes, and
an the order in
which the sounds are played up and down is different. In the works of Russian composers and
European classics, or in the works of Azerbaijani composers, the character of this bar has the
appearance of a strict trio.
In addition, pauses also play a key role in the melodic structure of the melody and require very
precision of rhythm, especially in sentences played in the staccato style.
This is also a form of artistic expression, which reveals the character of the melody. Fostering a
clear rhythm
hm is different for each student. Therefore, counting, learning with the help of a
metronome, playing in piano, using different forms of ensemble performance (duet, trio, quartet)
and learning special melodies in circle jury give good results.
The rez bar is especially very colorful. In Uzbek music alone we can see several types of rez. If
we look at the melodies of the Bukhara and Samarkand directions, we can see that the melodies
on the Fergana-Tashkent
Tashkent roads are a bit flat, clear and resonant. Due to the artistic nature of the
composers' works, the melodious rez leaves a sad, depressing, homely impression, while in
another, the same delicate tremolo gives the listener an impression that calms and calms the
mind.
List of used literature.
1. B.Mirzaahmedov,, K. Usmonov, V.Tashxujaev. "Rubob's textbook." T., "Teacher" 1984.
2. F.Karomatov. "Uzbek instrumental music". M. "Music", 1987.
3. I.Akbarov. Dictionary of music. Reprint. - T .: Teacher. 1997. - 384 p.
4. K.Usmonov. "Primary rubab textbook". 2nd edition. T. "Teacher"
"Teacher" 1995.
5. K.Usmonov. "Primary rubab textbook". T., "Teacher" 1975.
6. T.S.Vizgo. Musical instruments SredneyAzii (Historical Essays). - M., 1980
7. V.Belyaev. Musical instruments of Uzbekistan. - M., 1933.

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