National Musical Instruments Research Articles

The Role of Musical Instruments in the History of the Art of Singing at the End of the 19th - the Beginning of the 20thcentury, Music Education and Art in the BPSR

This article talks about the types of national musical instruments available at the beginning of the last century, famous musicians who played them, and valuable information about the creation of musical instruments. In 1920-1924, during the government of the Bukhara People's Soviet Republic (BPSR), effective works were carried out in the field of music art in a short period of time. One of the 4 branches of the Bukhara Public Education Inspectorate is called the "music" branch, and the work of this branch, especially, did effective and good things during the period when Abdurauf Fitrat, Musa Saidjonov, and Qori Yoldash Polatov worked as education inspectors. Special attention was paid to provide theater troupes with singers. Concert troupes were organized and they toured the regions of the BPSR.

THEORETICAL FUNDAMENTALS OF UZBEK FOLK MUSIC PERFORMANCE

This article examines the history of traditional methods of Uzbek folk music performance, performance culture and musical works. Uzbek folk music is rich in its own methods and national musical instruments, and these art forms have been passed down from generation to generation. In this article, the preservation and development of folk music through teacher-disciple schools, which were brought up mainly on the basis of oral tradition, as well as the role of these traditions in modern performance are widely discussed. Genres of Uzbek folk music performance, their uniqueness and the role of musical traditions in society are analyzed.

FORMATION OF CHILDREN'S INTEREST IN MUSICAL INSTRUMENTS

The role of musical instruments is important in the moral and aesthetic development of children. Through the history of the creation of musical instruments, the main goal is to regulate children's moral behavior in the future. Ways to interest students in national musical instruments are shown.

Концертная увертюра «Шунчаки ҳазил» Мустафо Бафоева в интертекстуальной проекции

The theory of intertext, having taken shape in philology, semiotics and cultural studies, was developed in musicology in the last third of the twentieth century. The approach of the prominent representative of musicology in Uzbekistan, Natalia Yanov-Yanovskaya (b. 1934), complements this theory with the concept of intertextual duality in Eastern compositional music, arising from the dialogue between monophonic and multi-voice language systems. The purpose of this article is to argue the thesis put forward by N. Yanov-Yanovskaya about the awareness of national musical culture of its own self-value in modern conditions of interaction between centripetal and centrifugal factors of its development and globalization challenges. To achieve it, semantic, semiotic, hermeneutic approaches are applied, and theoretical experience of studying the phenomenon of intertextuality in music, literature and media art is taken into account.The concert overture-rondo “Shunchaki Khazil” (Just a Joke) written by Uzbek composer Mustafo Bafoyev (b. 1946) is chosen as a representative object. For the first time it is considered in the aspect of revealing the program idea with the help of the involved intertextual means. As a result of the analysis, it was revealed that the content basis of this work was the display of Western, Eastern and national cultural scenarios in three episodes of the rondo. The refrain, which included an Uzbek proverb-intext, became an expression of the composer’s creative credo: while studying and perceiving foreign national experience, try not to lose your authentic “face”, just be yourself.The intertextual apparatus contains quotation, allusion, metaphor, amalgam, image, stylization, adaptation, parody, polystylism, pentatonics, mix of multi-voice texture and timbre coloring of national musical instruments, and program-conditioned rondo form. Demonstrating its fluent mastery and revealing the ideological intent of the overture, Mustafo Bafoyev positions the centripetal platform of his work as characteristics of the Uzbek school of composers at the current stage of development both in terms of stylistic renewal and national-soil discourse. This confirms the validity conclusion of Natalia Yanov-Yanovskaya’s about the growing awareness of the national musical culture self-value as a balance to the trends of globalization.

КЫРГЫЗ ТИЛИНДЕГИ АЙРЫМ БАЙЫРКЫ МУЗЫКАЛЫК АСПАПТАРГА БАЙЛАНЫШТУУ СӨЗДӨРДҮН ЛЕКСИКА-СЕМАНТИКАЛЫК ӨЗГӨЧӨЛҮГҮ

The article presents the linguistic function of words Kyrgyz language. The lexical- semantic meanings of musical instruments, which appeared depending on the phenomena in the environment and the objects used, were interpreted. Musical instruments were used both as toys and as objects with religious beliefs. It was revealed that most of the names are formed from verbs, which were formed from imitative words. It is confirmed that the origin of the names is related to the material from which it is made and the function it performs. Synonymous variants of some ancient musical instruments in the Kyrgyz language are defined. It has been found that the sounds of instruments are closely related to the sounds of nature, the objects we use, the movements and sounds of animals. The lexical-semantic features of words related to Kyrgyz musical instruments are determined and the forms of their production are analyzed. The article reveals the role of ancient Kyrgyz national musical instruments in life and their linguistic function.

Music Education in China and the Philippines: The Exploration of Tradition and Integration

As two countries with characteristics, China and the Philippines both carry rich cultural heritage and historical background, especially in the field of music education have formed a unique tradition. In China, as an ancient civilization with a long history, its music education is deeply influenced by traditional culture. The inherited classical music, national Musical Instruments and music education concepts all highlight the extensive and profound Chinese culture. In the Philippines, as a country with diverse cultures, its music education integrates a variety of foreign cultures and local characteristics, showing a diversified, inclusive and innovative educational style. With the wave of building a community with a shared future for mankind sweeping the world, and culture as the spiritual embodiment of a community with a shared future for mankind, China and the Philippines have also begun to break regional boundaries and conduct frequent exchanges and cooperation. In the aspect of music education, this exchange and integration is not only reflected in the mutual reference of music education concepts, but also includes the sharing and innovation of teaching methods and teaching materials, as well as the exchange of visits and exchanges between teachers and students. In this process, the music education of the two countries is constantly absorbing each other's advantages and making up for their own shortcomings, so as to explore a music education model more in line with the development needs of The Times. This paper traces the origin of music education in the two countries from a historical perspective, deeply analyzes the uniqueness of their respective education systems, and compares the similarities and differences of teaching methods in detail. At the same time, this paper also focuses on the integration phenomenon of Sino-Philippine music education in the background of globalization, which is not only the exchange of technology and methods, but also the deep collision and integration at the cultural level.

A Brief Analysis of the Musical Background and Playing Skills of "Overlord of Western Chu"

Guzheng is also known as Han Zheng, Qin Zheng, Zheng Yao, Luan Zheng, Zheng instrument is the Han nationality traditional instruments, which belongs to the stringed instrument. It is one of the unique and important national musical instruments in China. It sounds beautiful, wide range, playing skills and rich, has the very strong expressive force, so it by the love of the broad masses of the people. There is now a small portable mini guzheng, guzheng, guzheng, half zither, koto, twelve average modulation zheng. Zheng is an ancient culture with Chinese, ancient folk instruments in this fertile native on the Loess plateau. Is plucked string instrument structure by a panel, the wild goose column (some area is also known for Zheng code), strings, Qian Yue Shan, string nail, tuning box, Qin foot, after Yue Shan, a side plate, the sound of opening, a bottom plate, a wear string hole composition.

Unknown Manuscript of “Bandura Playing Handbook” From DP Period

The purpose of the research is to introduce the manuscript of the “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951) into scientific circulation in the context of providing educational and methodological publications on the Ukrainian art of bandura playing abroad. The research methodology is based on the principles of historical, cultural, textual, and axiological approaches. Methods such as historical and typological, analysis and synthesis, music textual method, and musicological analysis were used, which made it possible to identify not only trends in the evolution of teaching and methodological approaches to teaching bandura playing but also the personological aspects of their formation. Particular attention is paid to the need to systematise not only the methods in printed editions of handbooks and self-tutorials on bandura but also manuscript rarities that remain in public and private archives and require proper scientific and methodological understanding. The scientific novelty of the study is determined by the introduction of the analysis of the manuscript “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951), created during the so-called camp period in Germany, where displaced persons (DP – Displaced Persons) were kept. The music manuscript is part of the documentary materials of the Archives of the Ukrainian Free University (Munich, Germany). Conclusions. The study analyses the handbook materials from the methodological and fingering points of view, the sequence of mastering the instrument, the formation of the bandura repertoire, and its comparison with similar examples in Ukrainian musical art. It determines the value of the handbook from the point of view of popularising the Ukrainian national musical instrument in the conditions of emigration and spreading the performing traditions of bandura art.

Домбра в калмыцком фольклоре и лирике ХХ – начала XXI в.: поэтика музыкального инструмента

The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

КОМУЗ ЖАНА АНЫН БӨЛҮКТӨРҮНӨ БАЙЛАНЫШТУУ СӨЗДӨРДҮН ЛЕСИКА-СЕМАНТИКАЛЫК ӨЗГӨЧӨЛҮКТӨРҮ

The article notes the place of komuz in the life of Kyrgyz people and its role in national music. The factors of the lexeme komuz are considered. A linguistic analysis of the name of musical instrument chertme komuz and its parts waz carried out. The names of the types of national musical instruments and semantic features were also analyzed. The association of the names with imitatiwe words and the human anatomy is indicated. It is noted that the stringed komuz is one of the oldest musical instruments and under different names it has spread among other nations. It has been interpreted that komuz means not onlu a musical instrument, but also expresses the modernThe names of improved types of musical instr semantics of komuz genre komuz language, the word used to expel demons from oblivion, as well as contains an emprty decimal sound. The name ofimprowed types of musical instrument komuz are determined. The emergence of nouns "chertmek", "kol komuz" along with the word on the basis of synonymy is considered.

Mykola Stetsiun’s creativity for bandura in the anniversary context

Statement of the problem. Recent research and publications. A significant event for the bandura community was the 80th anniversary of the Honored Artist of Ukraine Mykola Hryhorovych Stetsiun (b. 1942), whose composer’s work represents a new stage in the development of the bandura art. The artist’s professional development began in the urbanized Eastern region of Ukraine, where the folk instrumental performance was represented exclusively by the domra, balalaika, and accordion arts. The composer’s practical acquaintance with the bandura took place in his mature years in Kharkiv, which prompted him to expand the original bandura repertoire and include the timbre of the instrument in orchestral compositions. M. Stetsiun’s composer work has been covered in the number of scientific studies. His life and creative path is described by A. Vynohradova (2019), S. Bilousova (2016), and L. Shekita (2013) who characterized M. Stetsiun’s work in the context of the development of folk instrumental art. The performing interpretation some of the composer’s works is characterized in the studies of M. Tushchenko (2019) and A. Aulova (2021). I. Lisniak (2014) offered the genre style review of the composer’s work for the bandura. The relevance of the proposed study determines by insufficient research of M. Stetsiun’s bandura works. Objectives, methods, and novelty of the study. The purpose of the study is to characterize the development of M. Stetsiun’s bandura creativity in the context of the enriching the modern bandura repertoire. For the first time, the evolution of M. Stetsiun’s interest in bandura sound was traced in the context of significant for folk instrumental art the events and creative communications. Ways of formation and creative transformation of M. Stetsiun’s composer style in the field of bandura music have not yet been the object of research. A panoramic overview of the composer’s genre and style searches, aimed at expanding the performance repertoire for bandura, was carried out. The following methods was used in the research: 1) biographical to characterize significant events in M. Stetsiun’s life and work; 2) genre and stylistic to reveal the characteristic peculiarities of his music works; 3) interpretive to analyse performance tasks in the works for bandura. Research results. Thanks to the activities of V. Andrieiev and H. Khotkevich, bands of bandurists appeared in Kharkiv alongside the domra and balalaika orchestras. In 1921, the first orchestra of Ukrainian folk instruments was created. The cultural and musical environment of the Ukrainian Donbas in the middle of the 20th century was influenced the Soviet narratives. The bandura did not sound there. Therefore, since childhood, M. Stetsiun showed himself as the domra performer and talented arranger. During his studies at the Kharkiv State Conservatory (in the domra class of V. I. Mikhelis, in the composition class of I. K. Kovach), bandura performance declined. M. Stetsiun’s close acquaintance with the bandura took place at the turn of the 1980--90s, when the bandura class was renewed at the Kharkiv State Institute of Arts. There are several genre and style models to which the composer turns to in his work for this instrument: 1) vocal-instrumental compositions, 2) orchestral works with the inclusion of the bandura part, 3) arrangements for bandura solo, 4) original works for bandura, 5) compositions for the ensemble of bandurists. M. Stetsiun’s arrangements for bandura – “Elegy in Memory of Hnat Hotkevych” and “Etude-Impromtu” are very popular among the performers. The “Dance in the Form of a Rondo” stands out among his original works for bandura. Conclusion. M. Stetsiun continues the traditions of the Kharkiv school of composers, as evidenced by the bright individual stylistic appearance of most of his opuses. Conscious reception of the bandura as a national musical instrument by the composer took place in adulthood, when, thanks to the high level of compositional skill, he was able to embody organically the specifics of orchestral thinking in the solo and ensemble sound of the bandura using the traditional and the modern melodic-harmonic, textural and articulation means. The perspective of the research consists in the musicological understanding of the resent opuses of Ukrainian composers for the bandura as a complete artistic phenomenon and the important component of folk-instrumental Ukrainian art.

On the Training of Yangqin's Wheel Tone Technique

The dulcimer is one of China's national musical instruments, and with the development of the times, it is loved by many people. As a representative playing technique, dulcimer wheel sound has its own artistic characteristics and three particularities: linear beauty, tension and other characteristics. representative playing technique, dulcimer wheel sound has its own artistic characteristics and three particularities: linear beauty, tension beauty and emotional beauty. This paper aims to analyze the use of dulcimer wheel tone in music, the problems existing in practice and the corresponding solutions, hoping to provide useful help for the development of dulcimer wheel sound. This paper aims to analyze the use of dulcimer wheel tone in music, the problems existing in practice and the corresponding solutions, hoping to provide useful help for dulcimer beginners to master wheel tone skills.

Volgos regiono ir Uralo tiurkų tautų muzikos instrumentai

National musical instruments are part of the culture and history of the people. They reflect the characteristics, temperament and mentality of the people, the conditions for their formation as an ethnos. Variety, rich sound, unusual melody pattern – national musical instruments create all this. Every ancient musical culture has its origins in ancient rites. Folk music of the Turkic peoples of the Volga region and the Urals was no exception. Singing was accompanied by pagan and mystical sacraments, holidays, household and daily rituals such as hunting, harvesting and much more, including military campaigns.
 The sound of folk instruments has a specific musical pattern and voice that distinguishes the musical instruments of the Turkic peoples from other ethnic groups that have settled since ancient times in the Urals and the Volga region. This is due to the fact that the Tatars and Bashkirs have always preferred melodic musical instruments that allow performing a branched, rich melody in a wide range. Although the list of musical instruments has about fifty varieties, this article analyses the most characteristic and ancient ones.

PHILOSOPHY OF IMITATION IN CHINESE PIANO WORKS

Imitating traditional Chinese instruments to make piano works have a Chinese style is a common creative technique in Chinese piano music. For example, composer Zhao Yuanren uses appoggiatura to imitate the hua (glide) of the guqin in the piano work “Hua Ba Ban and Xiang Jiang Lang”. This paper will use the philosophy of imitation and Bandura’s imitation theory as the theoretical basis and use the method of comparative analysis to analyse how the composer uses different composition techniques to imitate different music elements of traditional Chinese instruments. Finally, this paper find that the methods of imitation are roughly divided into four categories: direct imitation, synthetic imitation, symbolic imitation, and abstract imitation. The culture of Chinese national musical instruments has been reflected onto the piano, which means that through the transformation of musical instruments, Western musical instruments have the sound of the East. It hopes that pianists could gain a deeper understanding of the imitation of Chinese national instruments in Chinese piano works, so as to better interpret these works.

Amazing Musical Instruments of Uzbekistan and the Middle East

Each nation has its own national art, traditions and literature, which are valued from generation to generation as a national treasure. As part of the article, we tried to show the similarity of the Far Eastern countries such as Chinese and Japanese national musical instruments with Uzbek national musical instruments.

The Integration and Development of National Instrumental Music from the Perspective of Multicultural Music Taking Guzheng as an Example

Diversified music has deeply influenced the development of Chinese national instrumental music. Taking Guzheng, one of the most representative national musical instruments in China, as an example, this paper discusses the integration and development of multi-cultural music and Chinese national instrumental music. It holds that there are three forms of integration: the first is the integration of melody, the second is the integration of musical instrument shape, and the third is the integration of modern music in the structure of melody. This paper holds that the multi-cultural music has given the Chinese national instrumental music with continuous vitality and creative source, but the Chinese national instrumental music should stick to its own national characteristics in its development, especially the expression of rhyme and the image expression of Chinese music itself.

The Peculiarities of Defining Culturally Specific Uzbek Names in Associative Dictionaries

This article deals with the discretion of associative features of names of culturally specific units in the Uzbek language. Also, this article highlights the issue of their classification. The method of studying the associated experience of native Uzbek speakers (L1 users) with the names of cultural units revealed the peculiarities of the emergence of the names of cultural units in the Uzbek language, as well as their nominative expression in associative dictionaries. The names of cultural units in the Uzbek language are different according to different topics. They can be classified as names of national rituals, customs, and traditions, national food, national haberdashery names, names of national cloth, national musical instruments, national songs, national dances, national holidays, national architecture, architect devices (or material), national games, national jewelry, make-up units, local organizations names, etc. The range of the usage of these names is different in a literary language. In this article, a special attention is given to survey how such names are presented in the associative dictionaries. The results of the analysis of materials on associative experiences related to such names show that not only linguistic factors, but extra-linguistic sources also can cause the associations. Specifically, the human factor is studied in the cognition of the names of culture units by Uzbek language native speakers. The issue of the comparison and contrast of other dictionaries with the Uzbek associative dictionary was compiled for the first time.

Analysis of Guzheng Music Style Transformation Based on Generative Adversarial Networks

With the emergence of more and more new music styles, Guzheng, a traditional national musical instrument that has been handed down for thousands of years, also faces new challenges. However, with the development of the times and aesthetics, composers have created various modern Guzheng music, thus injecting new vitality into the development of Guzheng. In order to study the mutual conversion between Guzheng music and other music, this paper proposes a Guzheng music conversion model based on Star generative adversarial networks (GAN), which can convert any length of music and realize the music conversion between various styles. Based on the idea of star GAN, this model uses Mel spectrum of music and random target style tags to train a general generator to generate a specified music style. It is found that the model proposed in this paper has better conversion effect between similar styles of music; that is, when Guzheng music is converted into pop and flute, the effect is the best, the average accuracy is 89.62% and 90.32%, respectively, and the cosine similarity is also 15.8 and 20.5.

Study on Aesthetic Teaching Methods in Ethnic Music Teaching in Universities in the Context of Intelligent Internet of Things

Folk vocal music is an important part of music majors in colleges and universities (CaU), and the core of music education is AE. Therefore, in vocal music teaching, students should be guided to understand the beauty of music and to use vocal performance as an aesthetic experience so as to cultivate their aesthetic appreciation ability. As one of the national musical instruments, Chinese Zither has a unique musical charm. Its traditional aesthetic value is high, which can bring people beautiful music enjoyment. This paper takes Chinese Zither as an example to study the aesthetic teaching methods in college national instrumental music teaching. In the process of research, we use a combination of a variety of research methods to study two classes of music major in our school. This paper first uses the literature analysis method to elaborate the AE and then uses the questionnaire survey method to study the college students’ understanding and views on the national instrumental music. Then, through the case analysis method, it analyzes the achievements and interest changes of the students after the introduction of aesthetic teaching in Chinese Zither teaching. At the same time, through expert interviews, it summarizes the teaching of national instrumental music in the CaU aesthetic teaching strategy and the use of mathematical analysis on the relevant data processing. This study found that before the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of class 2 students was only 33.33%, and after the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of students in class 2 reached 86.67%. Therefore, the introduction of aesthetic teaching in Chinese Zither teaching can effectively improve students’ learning level. This also shows that in the teaching of ethnic music, the introduction of aesthetic teaching and the combination of aesthetic art and music art can effectively improve the learning level of students.