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CLOD DEBUSSI AND GEORGIY MUSHEL'S MUSICAL INSTRUMENTS
IN FORTEPIANO'S WORKS Babanazarova G.Yu. Email: Babanazarova17132@scientifictext.ru
Babanazarova Gulrukh Yunusovna - Teacher, DEPARTMENT OF MUSICAL THEORY, KARSHI ART COLLEGE, KARSHI, REPUBLIC OF UZBEKISTAN
Abstract: the direct antithesis of naturalism was musical impressionism, which became perhaps the most influential of the new trends of the late nineteenth century. The concept of "impressionism " (from the French. Impression - impression) was established in the 70s. XIX century. in French painting (C. Monet, C. Pizarro, E. Degas, O. Renoir and others) and only in the late 1890s. it became used by analogy in French music in relation to the works of C. Debussy. Certainly, certain features of music: interest in the landscape, admiring the color details, the refined technique of pure colors - indeed, resembled Impressionist painting. In the musical creativity of C. Debussy a certain system of figurative and expressive means was formed. Consciously rejecting exaggerated emotionality characteristic of romanticism, he emphasized restraint in his works, even coldness of emotions and color with charming colorfulness and sophistication of sound (for example, Three Nocturnes for Orchestra - "Clouds", "Celebrations", "Sirens", piano preludes "Steps in the snow", "Girl with flaxen hair").
Keywords: impressionist, expression, suete, prelude, pyes, kaleidoscopic.
ПРО МУЗЫКАЛЬНЫЕ СРЕДСТВА ФОРТЕПИАННЫХ ПРОИЗВЕДЕНИЙ КЛОДА ДЕБЮССИ И ГЕОРГИЯ МУШЕЛЯ
Бабаназарова Г.Ю.
Бабаназарова Гулрух Юнусовна - преподаватель, кафедра теории музыки, Каршинский колледж искусств, г. Карши, Республика Узбекистан
Аннотация: прямым антиподом натурализма явился музыкальный импрессионизм, ставший едва ли не самым влиятельным из новых течений конца XIX в. Понятие «импрессионизм» (от фр. impression - впечатление) утвердилось еще в 70-е гг. XIX в. во французской живописи (К. Моне, К. Писарро, Э. Дега, О. Ренуар и др.) и лишь в конце 1890-х гг. стало по аналогии применяться во французской музыке по отношению к творчеству К. Дебюсси. Безусловно, определенные черты музыки: интерес к пейзажу, любование колористическими деталями, утонченная техника чистых красок, - действительно, напоминали живопись импрессионистов. В музыкальном творчестве К. Дебюсси сформировалась определенная система образных и выразительных средств. Сознательно отвергая характерную для романтизма преувеличенную эмоциональность, он подчеркивал в своих произведениях сдержанность, даже холодноватость эмоций и колорита при чарующей красочности и изысканности звучания (например, Три ноктюрна для оркестра - «Облака», «Празднества», «Сирены», фортепианные прелюдии «Шаги на снегу», «Девушка с волосами цвета льна»). Ключевые слова: импрессионизм, выражение, сюита, прелюдия, пьеса, калейдоскопическая.
UDC 786
The great French composer an music critic Claudee Debussi who lived and worked at the end of 19th and at the esrly 20th century and another great Uzbek composer, Georgiy Mushel, lived and worked at that time. Although these two composers didn't meet each other at the same time, but their creativity is very close together, and magic tones of one fortepiano instrument are combined , and this is one of the aspects thet attracted us.
Debussy's camera - instrument is one of the founders of impressionism in the art of fortepiano music. Debussi was a master of playing piano, and throughout his creative career he paid special attention to fortepiano works. Debussi was one of the first in music history to portray scenes of nature in an impressive sense. "The Fog", "The Garden under the rain" is a striking example. Debussi also attached great importanse to musical portrait and portraits in fortepiano works. Examples include: "Night in Gerenade", "Children's Room", "Moon in girl's Hair", "First Serena", and many others. Debussi drew attention to legendary and fairy tale cheracters in the fortepiano. For example, "Delphi dancers" about ancient antique art and others [1].
The composer, a magnificent fortepiano performer, created a completely new, fortepiano style soundtrack. In his work for the expression in the orchestra, and searched for new colorful timbre labels. In terms of form, Debussi liked the suete for the fortepiano Frequent variation in them has become a priority in the works of "kaleidoscopic" styles. 24 preles were written at the end (1 -notebook in 1910; second one in 1913) of Debussy's creations .
In his precedents, it is possible to compare the musical imagery to the content of a true encyclopedia. 24 previrw of Debuss is a miniature series of these musical artworks. Each prelude represents a separate artistic image.
The name of the Predefined program is listed at the end of the play. Claude Debussy is a reincarnated as major favorite chord.
At the beginning of the 20th century, in the small pussian city, Georgiy Aleksandrovich Mushel was born in Uzbekistan, which elevated the composer's creativity in the country. One of the hobbies of the future composer was music. His father was a mechanic, well-known in music, and played in the ensemble balalaika, guitar, moldelina instruments. His mother's voice was a tribute to Tchaikovsky's novel, a good master of his songs, and his first teacher as his son. He began his first creation on the 13 century. G.A.Mushel attendedgarrison and polyphony courses at the conservatory. He gave lectures to students in leisure time. The Impressionist Stream the 20th century Musical instrument of Uzbekistan contains the second concert of Mushel's musical instrument for fortepiano, which is the first of the genres of the concert genre in Uzbekistan. The important thing is that the genre of the concert meet's the requirements (brightness, virtuoso, orchestral refinement), this work combines the military theme. It's content extends the characters of tragic and heroic characters. In this composer's work, emotionally speaking, Debussy is a complex hymmonic language related to impressionism, including contradictions of long-term tonalities, variation of variation, emphasis an dissonance accents of rhythm, extensive archetypic passages, and so on. All of this is reflected in the work of G.Mushel.
As an example G.Mushel's fortepiano works con be remembered. Suchas, G.A.Mushel's "Vals" works was happened major and minor.
This is the same as the Uzbek music. It sums the sound of the tune. The tune begins with takt. The measurement of vals is 3/4 which is the same as the European music. It is clear that, the composer used both Uzbek and European tunes. The composer paid more atten tion to subdominanta (S) functions in this vals. This function in this vals. This function belongs to Uzbek music for example: G.A.Mushel used dominanta (D) functions and it's types more. especially, through dominantseptakkord (D7) he did changes [2, 57]. These changes delivered dominantseptakkord (D7) through sekvensiya (D7-T) For example:
The best sides of Mushel is that tonic Function he used less. We know that in tune it is certaintly solved in tonic. Mushel's works solution wat bun late Solition processes didn't depend on tonic but with other functions were enriched. For example: ins tell of dominantsekundakkord (D2) function tonic sekstakkord (T6) VI step terskvartakkord (VI43) and this function also VII step sekstakkord (VII6) was happened.
Tune consists of 3 parts, developed and at the end of the end part sekvensiya and changes were done and dominantseptakkord (D7) again and again was solved in tonic (T). the 3rd part of the tune repeated the fored part.
G.A. Mushel was interested in Uzbek fortepiano music. The amazing side is that, in his concerts he gave sompies of national folklore. The decade of the prewar (1934) is difference in other decade he ixtepduced competitiom programmes to the listeners (songs, extractions from operas and other) of professional composer's creativity.
It may include G.A. Mushel's second "The memory to Alisher Navoi" symphony and others. There live great composers created works will be precions not only today but in future and these composers works will be the main source today's numerous of composers.
Claude Debussy's style was developed in a difficult way, even I.Stravinski who kvew his works, wrote symphony of instruments, in 1920 for his memory.
From the beginning of the second term of XX century, the tendency of using jazz style found its continuation in different works. Jazz tunes whichfirstly were included in European music was initial experience of A. Dvorjak's "From new world" (1893) symphony is a clear example which you, may watch. The same effect we can see C.Debussy's plays who wrote for fortepiano in 1910. We may notice the spirit of nekiok and regtimes was rebuilt again. These matters were seen in his other works, "General Lyavin, excentric", "Menestrellar", Later regtime and jazz styles influenced in Europe foxtrot, Shimmy genres of XX century of 10-20 years period. French culture differs from other cultures its various ways of music from ancient times till up to now. In XX century it didn't change. In this century Impressionis is Debussi, Ravel and Fore's works were described.
In XX centaury's culture it begin to refuse kanon system, so this process brought lots of changes to get practice.
At the beginning of XX century it began to pass a new feature system. In this century the works which were written and amazed by audience, turned into Modern classic. Debussy's "The holy spring", "Delmas and Melizanda" works made success and the debates about Prokofev's works meant the general ambitions in different positions.
Scientific inventions began to enter the branch of art and anfluenced the technology of creativity. Composers got chances to do complex operations in the world of sounds for the first time.
The man of rare ability, composer G. Mushel lived in Uzbekistan. He was responsible among Russian composers and began to be wellknown for his searchable sides. He contributed to increase modern Uzbek music art and reached great achievements connecting with the traditions of the west and the East. We may say that G. Mushel created three syumphonies (1938. 1942) using the most difficult genres as well as, six concerts (1936, 1943,1946,1950, 1951, 1967) for symphony orchestra, concert for the violin and symphony orkecstra (1959). His three symphonies except his first fortepiano concert, and his other works, he found from the examples of the Uzbek music inheritance and used tune, rhythm, way and other peculiarities.
In 1936 V.A. Uspenskiy and G.Mushel together reproduced the musical drama called "Farhad and Shirin" and this collaboration gave important creative school to him. To developli ballei art in Uzbekistan, G.Mushel worked hard. In 1948 he wrote "Gulnore" balleito Barakovskiy's libretto. This ballei put on the Alisher Navoi opera and ballei theatre. In 1952 the ballei was called "Dancer" in a new publication.
G. Mushel wrote the ballei music "Tufelka Din" to S.Zelser and S. Dimont's libretto which was based on Chinese people fairy tales and in 1959 at the Chelyabinsk opera and drama theatre it was on.
G. Mushel's "Kashmir legend" ballei was put on at the Aca demic big opera and ballei theatre named Navoi in 1961. He made up the libretto based on "Kshmir song" written by Sh.Rashidov. In 1968 G. Mushel wrote "Bibihonim" libretto based on the film director O. Uzokov which was dedicated to Samarkand's 250's anniversdry. It was put on the stage under the name "Samarkand legend".
These two composers lived though at the same period, they didn't recognize each other and their writing styles were the similar. Their work, a number novator idear, haven't lost their necessity adore these composers music and their numbers are increasing. Especially, in their works depicted nature views motivate us and these works have been the precions classical music.
References / Список литературы
1. КремлёвЮ. Клод Дебюсси. М., 1965.
2. Дьячкова Л.С. Гармония в музыке ХХ века. Учебное пособие. М., 2004.
