OLIY MUSIQA TA'LIMIDA TALABA XORMEYSTLARIDA DIRIJYORLIK TARJIMASINI RIVOJLANTIRISH UCHUN METODOLOGIK ASOSI

KIRISH: xor san’atining zamonaviy taraqqiyoti dirijyor-xormeysterning kasbiy tayyorgarligiga yuqori talablar qo‘yadi. Musiqa ta’limini modernizatsiyalash sharoitida talabalarda asarlarni mustaqil badiiy talqin qilish qobiliyatini shakllantirish alohida ahamiyat kasb etadi. Shu bilan birga, pedagogik amaliyotda talqin tafakkurini rivojlantirishdan ko‘ra texnik tayyorgarlikka ko‘proq e’tibor qaratilayotgani kuzatilmoqda. Bu esa ijro jarayonining qoliplashuviga va badiiy ifodaviylikning pasayishiga olib keladi, bu esa mazkur tadqiqotning dolzarbligini belgilaydi. MAQSAD: ishning maqsadi xormeyster-talabalarda dirijyorlik talqinini shakllantirishning metodik tamoyillarini ishlab chiqish va nazariy jihatdan asoslab berishdir. Tadqiqot doirasida talqin tuzilmasini hamda xor asarini o‘zlashtirish bosqichlarini tahlil qilish bilan bog‘liq vazifalar hal etiladi. Dirijyorlik ishorasining ifoda vositasi sifatidagi rolini aniqlashga alohida e’tibor qaratiladi. Natijada talqin malakalarini shakllantirishning samarali pedagogik modeli yaratiladi. MATERIAL VA METODLAR: tadqiqotning metodologik asosini tizimli va faoliyatga yondashuvlar tashkil etadi. Mazkur ishda ilmiy adabiyotlarni tahlil qilish, pedagogik kuzatish, umumlashtirish hamda qiyosiy tahlil kabi usullardan foydalanildi. Tadqiqotning amaliy qismi talabalar xor jamoasi bilan ishlash bo‘yicha ko‘p yillik tajribaga tayanadi. Bu dirijyorlik ko‘nikmalarini shakllantirishning o‘ziga xos jihatlarini aniqlash va samarali uslubiy vositalarni belgilab olish imkonini berdi. NATIJALAR VA MUHOKAMA: tadqiqot natijasida dirijyorlik talqinini shakllantirishning mualliflik uch bosqichli modeli ishlab chiqildi. Birinchi bosqich — tahliliysemantik bosqich — asar mazmunini anglab yetishga yo‘naltirilgan. Ikkinchi bosqich — kinestetik-ifodaviy bosqich — musiqiy obrazni dirijyorlik ishorasiga ko‘chirish bilan bog‘liq. Uchinchi — refleksiv bosqich esa o‘z-o‘zini nazorat qilish va shaxsiy faoliyatni tahlil qilish ko‘nikmalarini rivojlantirishni ta’minlaydi. Ushbu modelning o‘quv jarayoniga tatbiq etilishi dirijyorlik harakatlarining anglanganlik darajasi oshganini, ansambl sadolanishi yaxshilanganini va talabalarning mustaqilligi rivojlanganini ko‘rsatdi. Qiyosiy tahlil dirijyorlik ishorasining asarning badiiy g‘oyasiga yanada aniqroq mos kelishini tasdiqladi. XULOSA: o‘tkazilgan tadqiqot musiqa ta’limi tizimida dirijyorlik talqinini shakllantirish muammosining dolzarbligini tasdiqlaydi. Ishlab chiqilgan model yuqori samaradorlikni namoyon etib, talabalarning kasbiy sifatlarini har tomonlama rivojlantirishga ko‘maklashadi. Uning qo‘llanilishi yaxlit badiiy tafakkurni shakllantirishni va bo‘lajak dirijyorxormeyesterlarni tayyorlash sifatini oshirishni ta’minlaydi. Olingan natijalar taklif etilgan uslubiyatni ta’lim amaliyotida keng qo‘llash uchun tavsiya etish imkonini beradi.

INTRODUCTION: the contemporary development of choral art places high demands on the professional training of choral conductors. In the context of modernizing music education, fostering students' capacity for independent artistic interpretation of musical works has become particularly significant. At the same time, pedagogical practice often reveals a predominance of technical training over the development of interpretive thinking. This leads to a formalization of the performance process and a reduction in artistic expressiveness, which underscores the relevance of this study. OBJECTIVE: the objective of this work is to develop and theoretically substantiate methodological principles for the formation of conducting interpretation in choral conducting students. The study addresses tasks related to analyzing the structure of interpretation and the stages of mastering a choral work. Particular attention is given to identifying the role of the conductor's gesture as a means of expression. The result is the creation of an effective pedagogical model for developing interpretive skills. MATERIALS AND METHODS: the methodological basis of the study is a combination of systemic and activity-based approaches. The research employed methods of scientific literature review, pedagogical observation, generalization, and comparative analysis. The practical part of the study is based on many years of experience working with a student choir. This allowed us to identify the characteristics of conducting skill formation and determine effective methodological techniques. RESULTS AND DISCUSSION: as a result of the research, the author's proprietary three-level model for developing conducting interpretation was created. The first level, analytical-semantic, is aimed at comprehending the work's content. The second level, kinesthetic-expressive, involves translating the musical image into a conducting gesture. The third level, reflexive, fosters the development of self-monitoring and analysis of one's own performance. The implementation of this model in the educational process showed an increase in the deliberateness of conducting actions, an improvement in ensemble sound, and the development of student autonomy. Comparative analysis confirmed a more precise correspondence between the conducting gesture and the artistic intent of the work. CONCLUSION: this study confirms the relevance of the problem of developing conducting interpretation within the music education system. The developed model demonstrates high efficacy and promotes the comprehensive development of students' professional skills. Its application ensures the formation of holistic artistic thinking and improves the quality of training for future choral conductors. The results obtained allow for the recommendation of the proposed methodology for widespread use in educational practice.