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DEVELOPMENT OF PERFORMANCE STYLE SKILLS IN
INSTRUMENTAL PERFORMANCE (ON THE EXAMPLE OF THE
ACCORDION)
Rakhimova Aziza Egambergan kizi
Teacher at Urganch State Pedagogical Institute
Rustambekov Zafarbek Farkhod uglu
Urganch State Pedagogical Institute
Student of group 241, music education
https://doi.org/10.5281/zenodo.15628853
Abstract
: This article discusses the issues of forming and developing
performance style skills in the process of playing an instrument, in particular, in
playing the accordion. Performance style is a harmonious manifestation of the
performer's technical skills, means of expression, individual approach to the text
of the work, and aesthetic taste. The study analyzes the role of technical and
expressive means inherent in accordion performance, including notation,
register change, dynamic transitions, legato and staccato methods. The article
also provides methodological recommendations for forming a performance style
based on the musical analysis of accordion works. Pedagogical methods aimed at
developing the student's individual creativity, conscious understanding of
musical expression, and ensuring freedom on stage are of great importance in
the approach. The results of the study serve to effectively organize practical
classes in accordion performance and improve the professional training of
students.
Keywords:
accordion, performance style, performance skills, technical
skills, means of expression, musical analysis, register, dynamic transition, legato,
staccato, stage culture.
Introduction.
The art of playing an instrument is one of the most diverse and vital
manifestations of musical expression. It requires not only technical skill, but also
a perfect harmony of creative thinking, musical awareness and aesthetic taste.
Especially on an instrument with such a complex structure as the accordion,
achieving a high level of performance art is directly related to the formation of
the performer's individual approach to the musical text and the skills of
effectively using stylistic means of expression.
Accordion performance is not only the perfection of technical movements,
but also the art of revealing the spiritual and aesthetic essence of the work,
feeling the inner tone of each phrase during performance, expressing them
through dynamic and timbre changes. Such an approach, in turn, requires the
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development of performance style skills. Performance style is the personal
approach of the performer, the conscious choice of technical and musical means
of expression, their combination based on aesthetic criteria. Therefore, one of
the important criteria determining the professional maturity of an accordion
player is his possession of a performance style and knowledge of the ways to
form it.
In recent years, special attention has been paid to improving the
performance culture in the music education system, developing independent
performance skills in students and pupils, and harmoniously forming technical
and expressive skills. However, in practical experience, approaches in this
regard are often limited only to technique, note reading and accuracy. This
neglects the deep musical content of the performing art and the uniqueness of
the means of expression. This article is of urgent importance in this regard. It
analyzes the components of the performance style in accordion playing, the
stages of their development, pedagogical approaches and methodological
recommendations on a scientific basis. Also, factors such as musical analysis,
understanding of the character of the work, stage culture, and psychological
preparation are analyzed in the formation of performance style. The main
purpose of the article is to identify modern pedagogical approaches to the
formation of performance style in instrumental performance, in particular,
accordion performance, and to develop scientific and methodological
recommendations aimed at their application in practice.
Literature analysis:
The analysis of scientific and methodological literature on the formation of
performance style skills in instrumental performance, in particular, accordion
art, shows that research in this area is carried out on the basis of a wide range of
approaches.
First of all, the methodological works of such Russian pedagogues as O. V.
Yastrebova, A. A. Kostin, V. V. Bolotin on the activities of an accordion teacher
are noteworthy. In particular, O. V. Yastrebova's work "The Art of Bayan
Performance" describes in detail the ways to ensure the harmony of
performance technique and means of expression. The author emphasizes that
musical phrasing, articulation, register changes and specific types of dynamics
play an important role in the formation of the performance style.
V. Bolotin, on the other hand, justifies the choice of repertoire as an
important factor in the formation of the performance style. According to him, the
repertoire, which includes works by composers of different periods, forms not
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only technical skills, but also the ability to creatively observe, feel the
environment and create a musical image.
A number of methodological manuals written by Uzbek teachers, for
example, in the works of D. Urazmetov, M. Izzatullayev and N. Akhmedov,
emphasize national traditions of accordion performance. These writers
emphasize the need to develop national means of expression in students
through exercises based on Uzbek folk melodies. Also, the formation of national
musical thinking and aesthetic worldview in students by forming the
performance style on the basis of national musical materials is of great
importance.
The theoretical works of B. I. Asafyev, L. Mazel and M. Aranovsky on musical
thinking and expression reveal the aesthetic and musical essence of the general
performance style. They interpret the art of performance not only as a set of
technical skills, but also as a means of spiritual and cultural expression.
Modern sources, in particular, articles on the organization of instrumental
education based on interactive technologies, highlight the possibilities of ICT
tools, virtual classes, audio-visual analysis and distance pedagogy in the
development of performance skills. This indicates the need for flexible and
student-oriented approaches to the current educational process.
Scientific articles also deeply analyze the psychological aspects of the
performance style - namely, stage culture, managing excitement during
performance, and developing internal intonational hearing. Such psycho-
pedagogical approaches serve the personal development of the accordion
player. Literature analysis shows that the development of performance skills
requires multifaceted approaches, the harmonious use of technical and
expressive means, as well as pedagogical methods focused on the individual. In
particular, the formation of these skills on such a wide-ranging instrument as the
accordion requires a unique step-by-step methodology and artistic and aesthetic
analysis.
The accordion is not only a source of sounds, but also a means of musical
expression, emotion and artistic thinking. Each melody, each musical phrase
performed with it is not only a reflection of the composer's thought, but also
reveals the inner world, mood, imagination of the performer. It is this aspect
that constitutes the essence of the formation of a performance style. The
development of this style is a complex, multi-stage and creative process that
requires an individual approach.
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During the study, practical exercises were conducted with students of
different ages and levels of preparation in accordion performance. One of the
most important situations observed during the lessons was that, despite the
student's technical capabilities, the performance expression lacked objectivity,
excitement, and logicality of musical speech. This situation indicates the main
problem in the formation of the performance style - the imbalance between
musical thinking and technical skills.
Therefore, during the lessons, special attention was paid to the
development of musical hearing, phrasing, conscious execution of articulation,
breathing, and expressive construction of musical sentences. Especially effective
when working on works was the systematic work on creating a musical image
through performance tools such as dynamic nuances, tempo changes, and
register changes. Each student was asked questions about how he could express
the work with his own voice and style, and was encouraged to freely analyze it.
During the lessons, samples from classical, folk, and modern works were
selected and compared in terms of style. For example, in the work “Romantic
Etude” written for the accordion by A. Kusyakov, attention is paid to softness,
dynamic transitions in phrases, while in folk melodies, emphasis is placed on
revealing an image through rhythmic clear pronunciation and expressive
articulation. This approach activated the creative thinking of the performer and
taught them to “speak” musical speech.
In addition, the practice of analyzing students’ own performance through
audio recordings was introduced. Through this method, they learned to listen to
their mistakes and analyze them consciously. The process, which initially began
with simple but expressive exercises (for example, playing one note with
different dynamics, alternating legato and staccato, exercises in notation), later
led to the interpretation of complex works.
The results showed that in order for a student's performance to be unique,
musically expressive, dramatic and meaningful, he must first understand the
musical text, develop an inner musical ear and, most importantly, go on stage
with confidence. This is closely related to the theoretical analysis, individual
approach and creative exercises provided by the teacher.
Thus, the development of a performance style is not a simple improvement
of technical skills, but a complex pedagogical and artistic process that occurs
through the combination of creative thinking, musical imagination, inner voice
and aesthetic views. It is these aspects that serve to understand the aesthetic
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values of accordion performance in music education and the formation of the
student as a musical personality.
Results.
Music is not only the art of sound, but also the language of the soul, the
expression of inner experiences and artistic thinking. That is why in
instrumental performance, especially in such an instrument with such a wide
range of expressive possibilities as the accordion, the issue of forming a
performance style goes far beyond technical skills. Based on the observations,
practical exercises and analytical support conducted during the research
process, the following important conclusions were drawn.
First of all, in order to develop a student's performance style, it is necessary
to bring musical hearing into an active state. This is not just listening, but a
process of consciously perceiving, understanding and recreating musical
structure, phrase, dynamic nuances and images. This ability is formed through
regular analytical work, expressive exercises under the guidance of a teacher,
and exposure to works of various natures.
Secondly, technique and expression are an inseparable whole system. In
many cases, students, focusing on technical complexities, neglect the spiritual
and aesthetic side of music. In fact, the style of performance is a set of actions
aimed at revealing the inner content and spiritual tone of music. Technique is a
means to this end, not a goal.
Thirdly, individuality and independent analysis are the main factors in the
formation of the style of performance. Students can interpret the same work in
different ways, each expressing it based on their own inner feelings and
aesthetic views. This situation requires a guiding, inspiring approach from the
teacher, rather than strict control.
The results of the study show that the development of performance style
skills in accordion performance directly depends not only on the correct choice
of pedagogical methods, but also on the student's attitude to music, internal
emotional state, stage experience and motivation. Each student must find his
own voice, create his own musical expression and reach the heart of the listener
through performance.
Therefore, the formation of a performance style is a process that brings the
performer not just to the level of a "good player", but also to the level of a person
who speaks the language of music. And the role of the teacher who manages this
process is not to be a giver of knowledge, but to be a source of inspiration
leading to art.
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Conclusion
Instrumental performance, especially the art of the accordion, is
distinguished by the richness of musical means of expression and the breadth of
technical possibilities. Based on the results of this study, the following
conclusions were drawn:
1. Performance style is not only a complex process consisting of technical
skills, but also a combination of musical thinking, inner hearing, image creation
and means of expression. Its development requires a step-by-step and
systematic methodological approach.
2. In the formation of stylistic skills in accordion performance, musical
analysis, intonational accuracy, phrasing, articulation, conscious use of dynamic
nuances and register changes are of great importance.
3. The harmony of technique and expression is the basis of the performance
style. If the student's technical maturity is not in harmony with the level of his
artistic understanding of the musical text, the performance style cannot be
mature.
4. Through didactic exercises, performance analysis, self-listening (audio-
assisted analysis) methods, the student acquires the skills to evaluate his
performance, understand his mistakes and independently correct them. This
serves to strengthen the performance style.
5. The role of the teacher should be interpreted not as a controller of the
performer, but as a coach who guides him in his formation as a musical
personality, inspires him, and awakens stylistic freedom.
Thus, the formation of a performance style in accordion performance is a
complex pedagogical, psychological and aesthetic process that serves to educate
the student as an artist. The theoretical and practical recommendations put
forward in this article can serve to improve the performance culture in the
accordion direction in the music education system.
List of references:
1. Yastrebova, O. V. Искусство баянного исполнительства / O. V. Yastrebova. -
Moscow: Muzyka, 2010. - 192 p.
2. Kostin, A. Prepodavaniya na bayane / A. Kostin. - St. Petersburg: Composer,
2005. - 176 p.
3. V. Bolotov. - Moscow: Sovetsky Kompozator, 2008. - 148 p.
4. Orazmetov, D. Methodical guide to playing the accordion / D. Orazmetov. -
Tashkent: Publishing house named after Gafur Ghulam, 2016. - 84 p.
5. Izatullaev, M. Basics of performance / M. Izatullaev. - Tashkent: "Science and
Technology", 2018. - 96 p.
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6. Ahmedov, N. Formation of a creative approach to musical instrument
performance / N. Ahmedov // Music and culture. – 2021. – No. 3. - B. 24-28.
7. Asafev, V. Muzykalnaya forma / B. Asafev. - Leningrad: Muzyka, 1971. - 212 p.
8. Mazel, L. Aranovsky. - Moscow: Muzyka, 1986. - 320 p.
