MUSICAL ORNAMENTRY AND ITS ROLE IN THE FORMATION OF THE PERFECT STUDENTS OF THE BAYAN STUDENTS

Abstract

The article discusses issues that continue to further explore various aspects of the development of bayan music, questions of a detailed study of artistic features and style professional works for folk instruments, which defined in modern musicology as the starting point in the process of professionalization and acculturation of this field of performing arts. On the basis of the analysis of fundamental works of famous scientists - musicologists and music teachers, the question is raised about the urgency of the development of problems related to the correct implementation of textual means of expression, in particular, melismism, which is an important criterion for determining the level of musical maturity of the performer, his professional skill, as well as his level of formation as a future teacher of professional disciplines. As a result of the research, an attempt was made to study and reveal the specific features of the performance of musical ornamentation on the bayan. Synthesis of musicological theoretical generalizations and practical pedagogical works on performance of musical characteristics on folk instruments is analyzed. It is justified that melisms are not just decorations, but also powerful means of musical expression. And if their expressiveness is determined by the nature of the melody and the value of the notes being marked, then the functions of the melisms can be varied.