THEORETICAL SIGNIFICANCE OF VOCAL PEDAGOGY IN THE DEVELOPMENT OF STUDENTS' VOICES

ТЕОРЕТИЧЕСКОЕ ЗНАЧЕНИЕ ВОКАЛЬНОЙ ПЕДАГОГИКИ В РАЗВИТИИ ГОЛОСА СТУДЕНТОВ

Маликов Алибек Абдукаюм угли

магистрант 2 курса по специальности «Академическое хоровое дирижирование», Государственная консерватория Узбекистана,

Узбекистан, г. Ташкент

ABSTRACT

The sound of this article is about a unique musical instrument, the ability of the reader to hear natural music, musical memory and the ability to express themselves clearly in order to sing. Sound capabilities and features will also be covered during the coverage of the topic.

АННОТАЦИЯ

Звучание этой статьи об уникальном музыкальном инструменте, способности читателя слышать естественную музыку, музыкальной памяти и умении четко выражать себя, чтобы петь. Звуковые возможности и особенности также будут освещены в ходе освещения темы.

Keywords: voices, vocal pedagogy, regularly trained, vowels, artificial speech, low-pitched voice.

Ключевые слова: голоса, вокальная педагогика, регулярно тренируемые, гласные, искусственная речь, низкий голос.

The teacher should make extensive use of vocal pedagogy in educating students' voices. There are some difficulties with singing. The singer's voice is a kind of "musical instrument". But you also need to be able to listen before you sing. The listener also needs to be able to hear certain musical sounds or the sequence of sounds that make up the melody.

It goes without saying that in order to sing, a student must first have a natural ability to hear music, a musical memory, and the ability to express clearly. At the beginning of the school year, a special plan is developed based on these qualities in children. Only students with good musical ability and a healthy voice will be selected for solo singing. However, experience has shown that even those with average musical ability develop stylistic musical skills during those who are methodologically correct and regularly trained.

Figure 1. Ways of sound formation in adolescents

Hearing, memory, and expressive skills are developed. Preliminary music samples can be used to test each student's ability to sing and sing. (La, la, la, na, na, na or pam, pam, pam). For example, a student's level of comprehension of a method is tested using methods that vary in complexity. For example, a teacher may use a tune played on a voice or an instrument by clapping his hands or tapping a pencil on a table. If the method is repeated correctly on the table, then you need to try a more complex method.

Students' musical memory is tested by repeating passages from the melody. How difficult or easy it is to sing depends on his age. For middle-aged and older children, more complex melodies are chosen. You can then proceed to test the student's voice.

The range of sound is checked by singing some songs, exercises in different ways, that is, by singing on the upper and lower scenes, and determining the upper and lower points of the sound range. First of all, it determines the student's ability to sing. If there are low and high tones in the range and they have a medium sound, it is advisable to mark such a sound as a low sound. The range is determined by which party the strongest vote belongs to. If the lows are loud in the range, the lows are high, and the lows are high.

It depends on the quality of the soloist's performance and performance skills. Adolescents (11-18 years old) undergo major anatomical and physiological changes in the body that affect their entire life activities. His vocal apparatus also undergoes complex processes. The shape of the vocal cords depends on the growth of individual organs in the body. This is especially true for boys. Their vocal cords extend longitudinally and usually do not change in width. The throat grows fast. At the same time, there are many cases of hypothyroidism. These conditions are associated with respiratory and throat disorders.

Similar events can be observed in girls. But not as clearly as in boys. Rapid growth of the throat, which is a characteristic feature of the period of mutation, is a more complex and dangerous period in the development of sound. The vocal cords are slowly formed between the ages of 15 and 18. At the age of 19, his development stops. The entire period from 11 to 18 years can be divided into 3 stages.

1.11-13 The age of puberty is no big deal in the vocal apparatus there will be no change.

2. Mutation period 13-15 years (beginning of puberty)

3. Adolescence 15-18 years throat and whole vocal apparatus developed and formed stage.

Each of these stages has its own characteristics, which should be well known by the leader. Children's bodies develop extremely differently. The duration of symptoms during mutations also varies. That's why every child in the choir has to be treated differently. It is very difficult to determine that the period of mutation is approaching. In humans, on the eve of a mutation, the child's voice becomes significantly clearer and stronger. However, the child will soon be able to say the loud sounds of the range, which he used to play easily, with tension. They often break the tone and start singing correctly. The monotony, the sweetness, the resonance is lost. Significant changes occur in the sound range. In girls, it drops to one or two curtains. In boys, it drops to one octave or more. Inflammation of the throat, increased mucus, impaired respiratory function, and sometimes loss of voice. This is especially true for boys, but is less common for girls. The mutation period in boys lasts from 6-9 months to 2-3 years. Although it does not last long in girls, it can recur at the age of 15-16 years, or start for the first time at this age.

Regular singing on the eve of a mutation allows the voice to learn a little more smoothly, a little more evenly, and to sing even during a mutation. If the Mobodo mutation is acute, you will have to stop training for a while. It is very important to consult a doctor-phoniator during the period of mutation.

During this time, you may need to shorten your vocal training time and reduce your volume. At the first sign of fatigue, you should stop training.

These should be known to the music teacher and assigned to the children. Mobodo, if singing is completely stopped during the mutation period, it will lead to the loss of coordination in the vocal cords. Conversely, if singing is continued for a limited period of time on a regular basis, the coordinations are preserved and strengthened.

If boys practice singing regularly during the mutation period, the mutation can go smoothly and imperceptibly. They are able to control their voices well and sing in a way that suits them. At this time, it is advisable to sing songs written in a low-pitched voice. With regular exercise, care should be taken to increase the range of the vocal cords, even if they are flat.

The range of adolescents: saprano, discants, from the Do-Re notes in the first octave, the Fa-Sol tessitura of the second octave is high, the tessitura of the work is low if there are many low sounds. Performing in a low or high tessitura of the work leads to artificial speech, which negatively affects the child's voice. That's why the teacher should take into account the convenience of tessitura when choosing a work. There is a clear difference in the mechanisms of sound production in both boys and girls during adolescence. Pure chest and high pitched voice can only be heard in the extreme notes. In boys, the mixed sound is produced artificially. As a result, boys have a limited range. Because they use more chest registers when singing. It is only after learning how to output sound from basic and mixed registers that they expand their range.

A girl's voice has a central (middle) register by nature. This allows all notes of the sound range to come out flat.

Figure 2. Sound shares

The range of adolescents: saprano, discants, from the Do-Re notes in the first octave, the Fa-Sol tessitura of the second octave is high, the tessitura of the work is low if there are many low sounds. Performing in a low or high tessitura of the work leads to artificial speech, which negatively affects the child's voice. That's why the teacher should take into account the convenience of tessitura when choosing a work. There is a clear difference in the mechanisms of sound production in both boys and girls during adolescence. In girls, the main part of the range is the central register. This register is naturally adapted to produce a mixed sound. Pure chest and high pitched voice can only be heard in the extreme notes. In boys, the mixed sound is produced artificially. As a result, boys have a limited range. Because they use more chest registers when singing. It is only after learning how to output sound from basic and mixed registers that they expand their range.

A girl's voice has a central (middle) register by nature. This allows all notes of the sound range to come out flat.

In high-pitched girls, the transition from the low register to the middle register is the Mi-fa-fa diaiez notes of the 1st octave. The transition note from the middle register to the main register is the fa-fa diaez curtains of the 2nd octave. In low tones, the transition notes are the curtains of the 1st octave, the transition notes from the middle register to the main register are the Do-Re curtains of the 2nd octave. Because boys have two registers, the sounds that lead to their head sounds are transition notes. For example, in discs, the Mi-fa-fa diaeresis of the 2nd octave is the Do-re curtain of the 2nd octave.

The teacher should be aware of the need to use the breast register in its place in adolescents. This is because overuse of the sound in the chest register can make the baby's voice louder. Sound is directly related to a strong range. You can request a specific volume from different parts of the range. Failure to do so may result in severe damage to the sound. The baby's voice is not loud during the recovery period. It doesn't matter. The beauty of a child's voice is in its simplicity. With the help of the natural power of the voice, the teacher achieves the attractiveness of the sounds in the melody, thereby ensuring the development of the child's voice. The child's voice is louder than average. Sound often depends on the timbre (tone and beauty of the sound).

In the process of regular and accurate singing during adolescence, the timbre acquires qualities that are unique to that voice.

Proper timbre training means teaching children to play vowels correctly and loudly in different parts of the range. The invaluable feature of the timbre is its upbringing and formation. Timbre quality is affected in two ways. The first is by changing the registers (chest and head registers) and changing the sound curtains; Second: it can be influenced by the vocal cords (throat, mouth).

References:

1. N. Yo`ldasheva. O`zbek musiqa adabiyoti qo`llanma. 2016
2. G. Tursunova. Jahon musiqa tarixi. 2017
3. www.ziyonet.com