To the Question of the Specificity of the Sound Director's Work in the Recording of Traditional Music

Abstract

Relatively recently, the professional creative activity of musicians has developed the profession of sound director, the accumulated practical experience and the formed historical and theoretical base of this specialization reveals a number of signs allowing to speak about the specificity of this activity. It is no accident that there are obvious differences in the phonograms, that every sound director has a number of individual qualities that allow to speak about the creative nature of the profession.
 The growing demand for sound directors, the popularity of the profession, is an impetus for researchers. Today, the scientific-theoretical understanding of the creative process of the sound director is devoted to many works devoted to certain aspects of creative sound recording. Despite this, the theory of sound management style is not developed enough, which determines the relevance of the topic of this study.
 Since the beginning of the 1990s, the State Conservatory of Uzbekistan has been training professional sound directors, and today it has accumulated a lot of practical experience, developed traditions of recording different musical trends: From recording traditional music to symphonic music, from pop to academic music, recordings are made right during the concerts and are recorded in the studio. All these phonograms, recorded under the same technical conditions, have different style patterns. For 25 years, in constant creative search, based on the achievements of colleagues and experience of students, we try to identify the specificity and semantics of the art of sound management using the example of recording traditional music.