The importance of theoretical analysis in music literacy

This article explains the importance of musical theoretical analysis in the development of students' musical literacy. It also details the methods of music analysis.

Keywords: music education, theory, analysis, education system, musical symbols.

Forming concepts of music literacy in music lessons is of particular importance. Because the child acquires knowledge of elementary music literacy in the primary grades of school. It is no exaggeration to say that this is especially true of the art of music. After all, music is our companion, our companion in our daily lives. At the same time, there are a number of complex situations in our cultural life in connection with the samples of music at different levels and levels, as well as their unique performance art. Musical literacy plays an important role in shaping students' musical culture by helping them understand music. Of course, it is important to keep in mind that the instrument also plays an important role in the music being performed. Because it allows you to put into practice the theoretical concepts learned in the words of the instrument.

We can see that our national times, formed over the centuries and playing an important role in the spiritual life of our people, are used in various ensembles and creative ensembles (orchestras), and even in new interpretations by pop groups. All this testifies to the rich timbre and technical capabilities of our national instruments. At the same time, the choice of repertoire in the performance of our national instruments is a matter of debate. There is no research on the application of theoretical concepts of music theory in music lessons.

Theoretical analysis plays an important role in the implementation of musical literacy. The main task of the teacher in the process of teaching performance is to teach students the knowledge and skills necessary for performance. Exercises to develop the ability to read a note fluently from a sheet of paper. Development of internal hearing, the concept of musical texture, the principle of «I see, I hear, I play», teaching to read the text of the note in a complex way, the first acquaintance with the text of the note, the shape, general direction, dynamics and Analysis of specific aspects. Internal listening skills Matching the text of the note and the listening skills performed on the instrument. Practical mastery of various common application options and texture types. Analyze the work, determine the musical sentence, distinguish meters and methods. Musical sentence and its relation to speech. An important aspect of working on a work is to understand its content correctly. Ways to Define Musical Speech Views The importance of proper breathing in performance.

Dynamics — the dynamics of the author and editor as a means of artistic expression, types of dynamic change. Common shortcomings in the performance of dynamic characters. Musical style is one of the main features of musical speech. Features of mastering complex methods. Pauses in musical performance. The relationship between the general character of the work and the level of speed, the use of raetranom. Naming the speed of the work. Learning to play music. Features of working with a juror. If the student is taught to read the note and analyze the text well, the skill of the musician in the future will be a factor in the full performance of the musical work.

Music literacy is so important when working on a piece of music that it is impossible to analyze a piece of music without being literate. Get acquainted (gain, obtain) with present-day techniques that came from Music. An artistically correct interpretation of the musical asami. It involves the formation in students of a high moral and aesthetic consciousness, an attitude to work, and the like. Understanding the character, tonality, direction, culmination, and structure of the asaming image will help for a full-fledged performance in the future. Once Asami is theoretically mastered, he moves on to practical performance, whereas musical works are not technically difficult from beginning to end, but some parts of them may be more difficult to perform than others. In this case, it is recommended to separate these difficult areas and conduct special exercises on the link. Even if this difficult part is performed independently by the performer, in many cases the same part can be distinguished from the beginning to the end of the performance without joining the general direction of the asami. Therefore, when repeating a difficult part, it is recommended to add a few bars before and after this part.

While mastering the work, it is necessary to choose a speed that suits the capabilities of the performer and to achieve a rhythm at that speed. Being able to work properly on a piece of music is one of the factors in improving performance skills. The main purpose of individual work in the classroom is to get acquainted with the general content of the musical asama, to improve the performance skills used in it, and on this basis to be able to interpret the musical experience with the help of musical instruments. The limited time allotted for mastering individual musical works means that the process of working on the work is accelerated, and the student is faced with the task of mastering a certain material in a short, limited time. This allows all students to get acquainted with new material, not to stand still, not to repeat the previous material in the same way. The important thing is that the works selected for class work should appeal to students and arouse great interest in them. Effective use of classroom work is important in expanding a student’s musical listening experience and professionalism. Improving performance skills in the learning process is one of the key factors for a student’s overall musical development.

The skill of the musician is a factor in the full performance of musical works. An individual approach to each student in improving performance skills. Work on sound quality. Apply the «Simple to Complex» principle of skill-enhanced internal hearing. In addition to individual lessons, independent learning is important in developing the skills of the musician. to be able to express his personal attitude on the surface of an issue through execution. The student's conscious approach to the art of music plays a leading role in independent study. Some teachers over-sponsor their students, preventing them from working independently. Conversely, the earlier an opportunity is created for students to work independently, the faster the result will be noticeable. Gamma and etudes play an important role in the development of a musician's performance skills. But keep in mind that the execution of your gamma and trinity must be goal-oriented. In order to improve the student's performance skills, it is important for the teacher to select works based on the student's ability to perform and to develop the ability to perform gamma studies.

Thus, the use of gamma and arpeggio for musical exercises is the most accurate and shortest way to develop performance techniques. To do this, the educator must be able to engage the student, to convince the scholar with the experience of self-play, as well as with examples from a wide variety of works.

– Free and independent thinking;

– Be comfortable in the team;

– To expand the scope of knowledge;

– Good performance of note lengths;

– To develop the culture of speech and communication;

^– Affects knowledge of musical elements, meaningful narration.

These methods are also advantageous in that if the student is not able to perform theoretically and practically, those around him will help, the teacher will perform, and the student will not hear much reprimand. Before we apply these methods to our lesson, we need to explain to the group students how to proceed, start, and understand each method. For each method to be complete and accurate, the question we ask must be clear and purposeful.

It should be noted that by teaching music theory and literacy to primary school students, we will be able to increase students' knowledge of music theory. The organization of the creative process of music theory in music culture classes is necessary to ensure that students master the theoretical foundations of creative thinking in music education in practice and to develop more effective and high-level singing activities in music lessons.

References:

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3. I.Akbarov Musiqa lug`ati. T.O`qituvchi 1997 y.
4. Ismailov Tohir. «Musical currents and the formation of Russian classical music». « Вестник магистратур ы» 2021. № 5 (116) ISSN 2223–4047;
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