UYG‘ONISH DAVRI MUSIQASINING NAZARIY ASOSLARI: POLIFONIK TAFAKKUR, KONTRAPUNKT VA MODAL TIZIM.

KIRISH: ushbu maqola Uyg‘onish davri musiqiy tafakkurining nazariy asoslarini ochib beradi. Bu davr polifoniya va kontrapunkt yozuvining yuqori darajada rivojlanganligi bilan tavsiflanadi. Modal tizim xususiyatlarini ochib berishga alohida e’tibor qaratilmoqda. Ushbu davrning yetakchi kompozitsion usuli bo‘lgan imitatsion polifoniyaning rivojlanishi, konsonans va dissonans qoidalarining evolyutsiyasi tahlil qilingan. Aynan Uyg‘onish davrining nazariy yutuqlari garmonik tilning shakllanishi va rivojlanishiga, barokko musiqiy tizimining qaror topishiga zamin yaratganligi ta’kidlanadi. MAQSAD: uyg‘onish davri musiqasining nazariy asoslarini ilmiy jihatdan tahlil qilish, xususan polifonik tafakkur, kontrapuntk va modal tizimining shakllanishi hamda rivojlanish xususiyatlarini yoritishdan iborat. Shuningdek, ushbu nazariy tamoyillarning davri musiqiy tafakkuri va ijodiy jarayonidagi ahamiyatini ochib berish ham maqolaning asosiy maqsadi hisoblanadi. MATERIALLAR VA METODLAR: tahlil va taqqoslash, so‘rov va intervyu, mavzuga oid adabiyotlarni o‘rganish va xorijiy tajribani o‘rganish metodlaridan foydalanildi. MUHOKAMA VA NATIJALAR: uyg‘onish davri musiqasining nazariy asoslari, avvalo, polifonik tafakkurning yuksak darajada rivojlanishi bilan tavsiflanadi. Ushbu davrda musiqa bir nechta mustaqil ovozlarning uyg‘unligi asosida qurilib, har bir ovoz o‘zining melodik mantiqiga ega bo‘ldi. Polifoniya musiqiy fikrning asosiy shakliga aylanib, badiiy ifodaning murakkab va mukammal tizimini yuzaga keltirdi. O‘rta asrlarda shakllangan dastlabki polifonik tajribalar Uyg‘onish davrida nazariy jihatdan mukammallashtirildi. Bastakorlar ovozlar o‘rtasidagi nisbatni qat’iy qoidalarga asoslab, dissonans va konsonanslardan foydalanish me’yorlarini belgiladilar. Yuqoridagi jarayon kontrapunkt san’atining rivojiga mustahkam zamin yaratdi. XULOSA: uyg‘onish davri musiqasida shakllangan garmonik, modal va shakliy tamoyillar keyingi barokko davri musiqasi uchun mustahkam poydevor bo‘lib xizmat qildi. Tonallik tizimining ilk unsurlari, funksional garmoniya va aniq shakllar aynan ushbu davr tajribalariga tayanib rivojlandi. Uyg‘onish davri musiqasi G‘arb musiqa san’ati tarixida muhim o‘tish bosqichi sifatida alohida ahamiyat kasb etadi.

INTRODUCTION: this article reveals the theoretical foundations of musical thinking in the Renaissance. This period is characterised by a high level of development of polyphony and contrapuntal writing. Particular attention is paid to revealing the features of the modal system. The evolution of the rules of consonance and dissonance is analysed, as well as the development of imitative polyphony, which was the leading compositional technique of the era. It is emphasised that it was the theoretical achievements of the Renaissance that laid the foundation for the formation and development of harmonic language and the establishment of the Baroque musical system. AIM: scientific analysis of the theoretical foundations of Renaissance music, particularly the formation and development of polyphonic thinking, the contrapuntal and modal system. Furthermore, revealing the significance of these theoretical principles in musical thought and the creative process of that period is also the main objective of the article. MATERIALS AND METHODS: methods of analysis and comparison, questionnaires and interviews, study of literature on the topic and foreign experience were used. DISCUSSION AND RESULTS: the theoretical foundations of Renaissance music are characterized, first of all, by the high level of development of polyphonic thinking. During this period, music was built on the harmony of several independent voices, each with its own melodic logic. Polyphony became the main form of musical thought, creating a complex and perfect system of artistic expression. The first polyphonic experiments, formed in the Middle Ages, were theoretically refined during the Renaissance. Composers established norms for the use of dissonances and consonances based on strict rules of voice proportion. The above-mentioned process created a solid foundation for the development of the art of counterpoint. CONCLUSION: the harmonic, modal, and formal principles formed in Renaissance music served as a solid foundation for the music of the subsequent Baroque period. The first elements of the tonal system, functional harmony, and specific forms developed precisely on the basis of the experience of this period. Renaissance music is of particular importance as an important transitional stage in the history of Western musical art.