nafosat olami 2-son 100

["51 \u211602 2022 Yunus Rajabiy, To\u2018ychi hofiz va yana da ekan. Unga \u201cKech soat o\u2018nlarga bir necha o\u2018zbekistonlik san\u02bcatkor- tayyor bo\u2018lib turinglar, sizlarni olib lar Yaltadagi \u201cO\u2018zbekiston\u201d sanatori- ketgani mashina keladi\u201d, deb tay- yasida dam olmoqda edi. Dengizda inladi. So\u2018ng, sizda gapim bor, deb dovul ko\u2018tarilgan, jala yog\u2018moqda, Imomjon Ikromovni olib ko\u2018chaga tashqariga chiqishning iloji yo\u2018q, chiqdi. Ko\u2018chada uzunchoq yengil derazalar zich yopilgan. To\u2018fon- avtomobil kutib turardi. Mashina bir ning osmono\u2018par to\u2018lqinlari shid- zumda chog\u2018roq restoranlardan bi- dat bilan ketma-ket bostirib kelar riga olib borib qo\u2018ydi. Rus haydovchi va baland qirg\u2018oqlarga shunday yigit Imomjon akani jomadoni bi- zarb bilan urilardiki, go\u2018yo dengiz lan Qobil qorining kichkinagina tu- osmonga ko\u2018tarilgandek kishining gunchasini olib vokzal tomon ketdi. vahmini keltirardi. Suvning rangi Qobil qori ikki kishilik kechki ovqat ham go\u2018yo ko\u2018mirdek qorayib ket- buyurtirgan ekan. \u201cIkki kundan beri gan, dengiz tubidagi ming yillik bal- faqat seni ko\u2018ramiz, qolganlar qani?\u201d chiqlar qo\u2018zg\u2018algan, hammayoqni \u2013 deb so\u2018radi Imomjon aka. \u201cUlar badbo\u2018y hid bosib ketgandi. Sana- Toshkentga jo\u2018nab ketganlariga an- toriyada ishlovchi shu yerli keksalar: cha bo\u2018ldi, \u2013 deb javob berdi Qobil \u201cDengizning bunday holatini hech qori. \u2013 Men ham ishlarimni bitkazib ko\u2018rmaganmiz, ammo dengizning ketmoqchi bo\u2018lib turgandim, bu yer- bu daraja bezovtaligi yaxshilik alo- dagi ba\u02bczi maydagaplar orqamizdan mati emas\u201d \u2013 deb tashvishlanishar- g\u2018iybat boshlab qolishdi. di. Chindan ham oradan 5-6 kun o\u2018tar-o\u2018tmas urush boshlanganligi Emishki, biz qo\u2018rqoqlar, yaxshi to\u2018g\u2018risida xunuk xabar tarqaldi. Bar- kunlarda yonlarida bo\u2018lib, xavf-xatar cha qatori ular ham jo\u2018nash tarad- kelishi bilan qochib qolarmishmiz. dudiga tushishdi. Amallab Moskva Chidolmadim, ko\u2018ngilli bo\u2018lib front- poyezdiga bilet olib yo\u2018lga chiqishdi. ga yozildim. Bularga o\u2018zbek qanday Temir yo\u2018llar harbiy ehtiyojlar uchun bo\u2018lishini ko\u2018rsatib qo\u2018ymoqchiman. kechayu kunduz band. Mamlakat Hozir Moskva atrofidagi harbiy ba- ichkarisiga ko\u2018chirilgan zavodlar, zalardan biridamiz. Boyagi avto- ishchilar, oddiy xalq tinimsiz oqib mobil ham o\u2018sha bazaga tegishli. kelardi. Imomjon Ikromov Yaltadan Imomjon aka siz menga otamdek- jo\u2018nayotganida Moskva konserva- siz. Mendek bir havaskorga ajoyib toriyasida o\u2018qiyotgan shogirdi Qobil ashulalar o\u2018rgatib, elga tanitdingiz. qoriga telegramma berib qo\u2018ygan- Sizdan o\u2018rgangan mumtoz navolar di. Qobil qori ularni vokzalda kutib teatrdagi ijodim uchun katta mak- olib, mehmonxonaga joyladi. Ular tab bo\u2018ldi. Farhodni, Majnunni ijro uchun Toshkent poyezdiga bilet etdim. Bu yerda \u2013 konservatoriya- ham olib qo\u2018ygan ekan. Poyezd ikki da ham o\u2018z o\u2018rnimga ega bo\u2018ldim. kunlik yo\u2018lni o\u2018n olti kunda bosib Hammasi uchun rahmat, ustoz, o\u2018tib, nihoyat Moskva vokzaliga kirib mendan rozi bo\u2018ling. Olloh nasib keldi. qilsa, urushdan omon chiqsam, uchrasharmiz. Bo\u2018lmasa diydor qi- Ertasiga Qobil qori kech soat yomatda\u201d, \u2013 deb jimib qoldi. Qobil oltilarda mehmonxonaga keldi. qori ham, usta ham yig\u2018lardi\u2026 Shun- Ko\u2018pchilik shahar aylanishdan hali da Usta o\u2018zini tutib olib: \u201cSen faqat qaytmagandi. Faqat O\u2018zbekiston o\u2018zinggagina emas, butun o\u2018zbek san\u02bcati tashkilotchilaridan bo\u2018lgan san\u02bcatiga tegishlisan, senda katta Zubayda opa ismli ayol shu yer- iqtidor bor, bekorga senga imtiyoz","52 berilmagan, shu bois o\u2018zingni as- bariyatiga boyagi askar, I.Ikromov rashga majbursan, biz bilan birga va boshqa ijodkorlar yig\u2018ilib, Qo- poyezdga chiqaver, seni O\u2018zbekis- bil qorining jasorati haqida radi- ton asraydi\u201d, \u2013 dedi. Qobil qori bir oeshittirish tayyorlash masalasini so\u2018zli edi, ko\u2018nmadi. \u201cArslon izidan, muhokama qildilar. I.Ikromov sho- yigit so\u2018zidan qaytmas\u201d, \u2013 deb javob girdining iqtidori va mahorati haqi- qildi. Chunki uning tomirlarida erk- da, san\u02bcatkorning ovozini avlodlarga parvar, mard va jasur o\u2018zbek qoni saqlab qolgan \u201cSo\u2018lim\u201d ashulasining oqar edi. Jaloliddin Manguberdi, yaratilishi va Respublika ko\u2018rigida Amir Temur, Zahiriddin Muham- Qobil qori ijrosidagi ushbu ashula mad Boburlardan o\u2018tib kelayotgan bosh sovringa ega bo\u2018lgani haqida vatanparvarlik, jo\u2018mardlik hislari gapirdi. Eshittirish davomida Qobil gupirib, millat sha\u02bcni, g\u2018ururini har qori ijrosidagi \u201cSo\u2018lim\u201d ashulasining narsadan ustun qo\u2018ygan Qobil qori plastinkadagi yozuvi bir necha bor qismatini hayot-mamot masalasi- qo\u2018yib eshittirildi. Ushbu eshittir- ga tikdi. Garchi imtiyozga, muayyan ish to\u2018g\u2018risida matbuot sahifalarida bir huquqqa ega bo\u2018lsa-da, bir og\u2018iz qator chiqishlar bo\u2018ldi. Oradan ko\u2018p millat sha\u02bcniga aytilgan noloyiq so\u2018z o\u2018tmay yosh shoira Zulfiyaxonimn- uchun chidab turolmadi. ing \u201cUni Farhod der edilar\u201d dostoni e\u02bclon qilindi. Doston urush davrida Qobil qori mag\u2018rur o\u2018zbek bir necha bor turli nashrlarda e\u02bclon xalqining bir vakili edi. U ayni pay- qildi, kitobcha shaklida chop etildi. tda o\u2018zining hamda o\u2018z xalqining Hali-hanuz o\u2018z qadrini yo\u2018qotmagan g\u2018ururi, hamiyati, or-nomusi uchun ushbu asar, II jahon urushida jon kurashish maqsadida ulug\u2018 yo\u2018lga olib-jon bergan ota-bobolarimiz ja- otlandi. Imomjon aka bilan qucho- sorati va shon-shavkatini madh etu- qlashib xayrlashdi. \u201cOilamga salom vchi dilbar asar bo\u2018lib qolaveradi [8.]. ayting, qizalog\u2018imning peshonasi- dan o\u2018pib qo\u2018ying, tushuntiring, Qobil qorini muxlislari Farhod mendan xafa bo\u2018lishmasin, shun- deb atashgan. Chindan-da, uning day qilishim zarur, omon bo\u2018lsam ijrosidagi Farhod ham, Farhodning boraman, bo\u2018lmasa mendan rozi sof muhabbati tajassum etgan bo\u2018lishsin. Vokzalga borganda us- \u201cSo\u2018lim\u201d ashulasi ham o\u2018sha davr ijro tozlarga indamay qo\u2018yaqolaylik, san\u02bcatining nodir namunalaridan chunki ular ham meni to\u2018xtatishga edi. Bu asarlar necha yillardan beri harakat qilishlari tayin. Men bir qa- turli avlod san\u02bcatkorlari tomonidan rorga kelib bo\u2018lganman, shuni ke- ijro etilib, o\u2018zbek qo\u2018shiqchilik san\u02bca- liningizga berib qo\u2018yarsiz\u201d, deb Us- tining mumtoz namunasiga aylan- tozining qo\u2018liga tuguncha tutqazdi. ib bo\u2018lgan. Bunda shubhasiz, uning Shularni hayolidan o\u2018tkazarkan, \u201cAt- ilk ijrochisi Qobil qorining xizmatlari tang, o\u2018shanda men bilan ketasan, katta. deb qattiq turib olsam, oldimga solib olib kelsam bo\u2018larkan\u201d, deya \u201cSO\u2018LIM\u201d QO\u2018SHIG\u2018INING Imomjon aka qattiq afsuslandi\u2026 MATN XUSUSIYATLARI Konsertning oxirgi nomeri o\u2018rni- Hamidjon Ikromovning \u201cQo- ga esa \u201cJangchi san\u02bcatkor salomi\u201d bil qori Siddiqov: yorqin iste\u02bcdod, rukni bilan Qobil qori Siddiqov ijro mungli qismat\u201d maqolasi muallif- etgan \u201cSo\u2018lim\u201d ashulasining plas- ning otasi Imomjon Ikromovning tinkasi qo\u2018yib eshittirildi\u2026 xotiralari asosida yozilgan. Ko\u2018pgina manbalarda uning \u201cSo\u2018lim\u201d ashulasi Oradan ko\u2018p o\u2018tmay radio rah-","53 \u211602 2022 va ijrochilari to\u2018g\u2018risida fikr yuritiladi. - baxtiyor oila bag\u2018rida istiqomat Ammo qo\u2018shiqning matni, mazmuni qilayotgan saodatmand kelinchak, va mavzusi haqida deyarli yozilmay- oshiq esa sevgili yori bilan turmush di. Yuqoridagi maqolaga ilova sifati- lazzatidan masrur, navqiron jonida da G\u2018iyos Soatiyning \u201cYorni oynakdin xurram bahor fasli barq urib turgan, qarang \u2013 noz uyquda yotganmikin?\u201d muhabbat bodasidan no\u2018sh etib, misrasi bilan boshlanadigan g\u2018azal hali to\u2018ymagan, visol halovati takror- sharhini keltirib o\u2018tamiz. ini istaguvchi komron bir yigit. G\u2018iyos Soatiy Unga suyumli yorining uy xi- g\u2018azalining ashula matni zmatlaridan xorib, noz uyquda yoti- shi ham lazzat bag\u2018ishlaydi. Yonida Yorni oynakdin qarang \u2013 shirin bo\u2018lib uxlab yotgan farzandi noz uyquda yotganmikin? ham bor. Bu holat navqiron bo\u2018z Yoki bergan nolishim yigitga shavq bag\u2018ishlaydi. Negaki, uyqudan uyg\u2018otganmikin? nozanin yoriga bu oromni u hadya qilgan. Axir turmushida xotirjamlik, Biz tarafga bir kelishni ro\u2018zg\u2018orida osudalik va fayz-baraka, ixtiyor aylab magar, samimiy sevgi bardavom bo\u2018lsagina Yonida yotganni afsun kelinchak miriqib dam oladi, guldek birla uxlatganmikin... ochilib, jamoli kamolga yetib yashay- di. O\u2018zi barvaqt uyqudan uyg\u2018ongan Atri bo\u2018yi yor dimog\u2018iga sohibi xonadon, ertalabki ba\u02bczi yu- yetishgach, ey sabo, mushlarini saranjomlab, oynakdan Tong shamoli kokilin \u2013 derazasidan mahbubasi yotgan mushkini qo\u2018zg\u2018otganmikin? manzilga nazar tashlaydi, birovga emas, o\u2018z o\u2018ziga shunday xitob qiladi: Tun-yarimda ko\u2018rdim oyni, Yorni oynakdin qarang \u2013 yoki beparvo chiqib, noz uyquda yotganmikin? Tun arosida yuzini Yoki bergan nolishim oyda ko\u2018rsatganmikin? uyqudan uyg\u2018otganmikin? Oftobi tal\u02bcatidin Oynakdan bir qarab qo\u2018yay-chi, zora ko\u2018rsatsa jamol, yorim hali ham uyqudamikan, yoki To\u2018lg\u2018on oy singan sapolga \u201cTong otib qoldi-ku, tursinlar endi, o\u2018zni o\u2018xshatganmikin? oyimposhsho, deb bergan ohis- ta nolishim uyg\u2018otib yuborganu, u Kabkidek mastona parvoz kishim uyg\u2018ongan bo\u2018lsa ham erka- aylaganda ul pari, lanib yotibdimikanlar? Yoki mening Ovchilar domiga o\u2018zni huzurimga xotirjam chiqishni ixtiy- yo\u2018lda ushlatganmikin? [9.]. or qilib \u201cyonida yotganni\u201d \u2013 ehtimol, bolakayni, afsun bilan uxlatib qo\u2018yib, Sharh: Ushbu ashula matni ha- endi turmoqchimikan? Shunday yotiy ishq zamzamalarini taran- bo\u2018lsa koshkiydi: num etuvchi, oshiqning ma\u02bcshuqqa bo\u2018lgan beadoq muhabbatining Biz tarafga bir kelishni nazmiy izhori sifatida yaralgan ixtiyor aylab magar, go\u2018zal g\u2018azal namunalaridan biridir. Yonida yotganni afsun G\u2018azalda ta\u02bcriflanayotgan ma\u02bcshuqa birla uxlatganmikin...","54 Ey sabo \u2013 tong shabodasi, o\u2018zing Kabkidek mastona parvoz ayt, bog\u2018da gullar atrini butun hov- aylaganda ul pari, liga taratganingda yorimning di- Ovchilar domiga o\u2018zni mog\u2018iga ham ul shirin hidlar yet- yo\u2018lda ushlatganmikin? ganidan uyg\u2018ongandir. Yoki sen esganda qop-qora kokillari paris- Agar yorimni parilar hovli yo\u2018li- hon bo\u2018lganda uning mushki atro- da domiga ilintirib, keyin sehrlab fga taradimikin? Men bu sayin ifor- uxlatib qo\u2018yib, o\u2018zlari uni tomosha dan mast bo\u2018lib qoldim-ku: qilayotgan bo\u2018lsa, duolar o\u2018qib ular- ni haydayman. Axir qur\u02bconiy duo- Atri bo\u2018yi yor dimog\u2018iga lar o\u2018qilgan paytda jin-parilar ura yetishgach, ey sabo, qochadi. Men sevgan kishimni Tong shamoli kokilin g\u2018ayri odamlardangina emas, hatto mushkini qo\u2018zg\u2018otganmikin? dev-parilardan ham qizg\u2018onaman. Bu holatdan sal oldin - tun Qo\u2018shiq matnining biz tushu- yarimlaganda osmondagi oyni na olgan mazmuni shulardan ibo- ko\u2018rgan edim, unda yorimning rat. Shoir G\u2018iyos Soatiyning mazkur jamolini mushohada qildim. Yoki g\u2018azali aruzning \u201cRamali musam- u tunda meni g\u2018aflatda qoldirib, mani maqsur\u201d vaznida yozilgan. beparvo hovliga chiqib... o\u2018zini oyga ko\u2018rsatganmikan, oyning ravshanli- Yor-ni oy-nak \/\/ din qa-rang no-z gi shundanmikin: \/\/ uy-qu-da yot \/\/ gan-mi-kin ? Tun-yarimda ko\u2018rdim oyni, fo-i-lo-tun \/\/ fo-i-lo-tun \/\/ fo-i-lo- yoki beparvo chiqib, tun \/\/ fo-i-lun Tun arosida yuzini oyda ko\u2018rsatganmikin? Yo-ki ber-gan \/\/ no-li-shi-m \/\/ uy- qu-da-n uy-g\u2018ot \/\/ gan-mi-kin? Mening yorimga osmondagi oy ham oshiq, ma\u02bcshuqa o\u2018z zori- fo-i-lo-tun \/\/ fo-i-lo-tun \/\/ fo-i-lo- ga, ya\u02bcni sevguvchisi oyga oftobdek tun \/\/ fo-i-lun porloq tal\u02bcatini ko\u2018rsatganda, to\u2018lin oy o\u2018z husniga yorimning jamolini Bu g\u2018azalga bastakor Imom- qiyoslab, o\u2018zini singan bir sapolga jon Ikromov dilrabo kuy bastalab, o\u2018xshatganmikan: unga umrboqiylik baxsh etgan edi. Ashulani uning shogirdi Qobil qori Oftobi tal\u02bcatidin o\u2018z vaqtida sehrli ijro etib, minglab zora ko\u2018rsatsa jamol, tinglovchilarni o\u2018ziga rom aylagan. To\u2018lg\u2018on oy singan sapolga Bu ashulani keyinchalik Orif Ali- o\u2018zni o\u2018xshatganmikin? mahsumov, Kamoliddin Rahimov va boshqa ko\u2018plab xonandalar ijro O\u2018sha tunda ul pari kabkidek, etishgan. Hatto estrada yo\u2018nalishida ya\u02bcni kaklik kabi chiroyli yurish qilib, ham qator ijrolar mavjud. O\u2018zbekis- bog\u2018 tomon chiqqanda, ovchilar - tonda hamma xonandalar \u201cSo\u2018lim\u201dni dev-parilarning domiga tushib qol- kuylay oladi. ganmikan, odatda chiroyli qizlarni ko\u2018zga ko\u2018rinmaydigan parilar o\u2018zla- Ammo keyingi yillarda ushbu riniki qilib olishni istab, turli tuzoqlar ashulaning kuyi va ijrosiga ayrim qo\u2018yadilar: kishilar matnga boshqacha ma\u02bc- no va sharh berib, nojoiz talqinlarni xalq orasida tarqatib yuborishmo- qda. Go\u2018yo bu g\u2018azal oddiy bir ayol vasfiga emas, balki Muhammad","55 \u211602 2022 alayhissalomga bag\u2018ishlangan xalqqa rivoyatlar asosida tushun- tirib beradilar. Mazkur g\u2018azalda esa demoqdalar. O\u2018z fikrlarini isbotlash hadislarga lafziy ishora mutlaqo uchramaydi. Masalan, hazrati Ra- uchun payg\u2018ambar alayhissalom sululloh davrlarida shisha-oynaklar, derazalar bo\u2018lmagan. haqida yozilgan kitoblardagi rivoyat Yuqorida sharhlaganimizdek, va naqllarni bayon etmoqdalar [10.]. bu sof lirik asarda dunyoviy turmush tarzimizning tipik bir ko\u2018rinishi tas- Keltirilayotgan rivoyatlar mas- virlab berilgan. Shuning uchun diniy suxandonlarimiz \u201cSo\u2018lim\u201d kabi dari haqiqatan ham kitoblarda bor, mashhur ashulalar mazmunini sharhlagan paytda adabiyotshuno- ularning bari rost gaplar (masalan, slar bilan bamaslahat ma\u02bcruza qil- ishlarini iltimos qilgan bo\u2018lur edik. \u201cMe\u02bcroji nabaviya\u201d asari). Ammo ularning Soatiy g\u2018azalida ko\u2018zda tutilgan talqinlarga aloqasi yo\u2018q. O\u2018zbek adabiyotida ham minglab na\u02bct-g\u2018azallar bitilgan. Ularning na\u02bct ekanligini biror hadisga yoki qissa- ga ishoralardan bilib olamiz. Shu ishoralarga suyanib olimlar ularni Foydalanilgan adabiyotlar 1. Ismoilova J. XIX asrning ikkinchi yarmi - XX asr boshlarida Toshkent- ning \u201cyangi shahar\u201d qismi tarixi. \u201cFan va texnologiyalar\u201d nashriyoti. T.: 2004. 140 b. B. 12. 2. www.ziyouz.com kutubxonasi. O\u2018zbekiston milliy ensiklopediyasi. \u201cR\u201d harfi. 356 b. 3. www.ziyouz.com kutubxonasi. O\u2018zbekiston milliy ensiklopediyasi. \u201cI\u201d harfi. 343 b. 4. www.ziyouz.com kutubxonasi. O\u2018zbekiston milliy ensiklopediyasi. \u201cR\u201d harfi. 373 b. 5. Uni Farhod der edilar. \/\/ \u201cGuliston\u201d jurnali. 1984. \u21164. 6. Ikromov H. Qobilqori Siddiqov. \/\/ \u201cJahon adabiyoti\u201d jur-li. 2015. \u21163. 7. Ikromov H. Qobilqori Siddiqov. \/\/ \u201cJahon adabiyoti\u201d jur-li. 2015. \u21163. 8. Ikromov H. Qobilqori Siddiqov. \/\/ \u201cJahon adabiyoti\u201d jur-li. 2015. \u21163. 9. Zulfiya. Asarlar. 3 jildlik. 2-jild. T.: Adabiyot va san\u02bcat nashriyoti. 1985. 10. Bu g\u2018azal matni matbuotda e\u02bclon qilinmagan. Bu erda O\u2018zbekiston xalq artisti O.Alimahsumov ijrosidagi qo\u2018shiq varianti asos qilib olindi (I.O.).","56 Annotatsiya: Mazkur ma- qolada Qozog\u2018iston o\u2018zbek bolalar QOZOG\u2018ISTON raqslarining milliy qadriyatlar va O\u2018ZBEK BOLALAR madaniy an\u02bcanalar bilan uyg\u2018unlik- MILLIY RAQS dagi taraqqiyot bosqichlari tadqiq SAN\u02bcATINING qilinadi. O\u2018ZIGA XOS XUSUSIYATLARI Kalit so\u2018zlar: milliy qadriyat, madaniy an\u02bcana, ijodiy hamkorlik, Shahlo Noraliyeva, raqs. Qozog\u2018iston Respublikasi J.Tashenev nomli \u0410\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f: \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 universitet dotsenti, \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u044e\u0442\u0441\u044f \u044d\u0442\u0430\u043f\u044b \u0440\u0430\u0437\u0432\u0438- pedagogika fanlari \u0442\u0438\u044f \u043a\u0430\u0437\u0430\u0445\u0441\u043a\u043e-\u0443\u0437\u0431\u0435\u043a\u0441\u043a\u0438\u0445 \u0434\u0435\u0442\u0441\u043a\u0438\u0445 bo\u2018yicha falsafa doktori \u0442\u0430\u043d\u0446\u0435\u0432 \u0432 \u0433\u0430\u0440\u043c\u043e\u043d\u0438\u0438 \u0441 \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u044c- \u043d\u044b\u043c\u0438 \u0446\u0435\u043d\u043d\u043e\u0441\u0442\u044f\u043c\u0438 \u0438 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u044b\u043c\u0438 Salimjon G\u2018aniyev, \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u044f\u043c\u0438. Qozog\u2018iston Respublikasi J.Tashenev nomli \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430: \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u044c- universitet katta \u043d\u0430\u044f \u0446\u0435\u043d\u043d\u043e\u0441\u0442\u044c, \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0430\u044f \u0442\u0440\u0430\u0434\u0438- o\u2018qituvchisi \u0446\u0438\u044f, \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u043e\u0435 \u0441\u043e\u0442\u0440\u0443\u0434\u043d\u0438\u0447\u0435\u0441\u0442\u0432\u043e, \u0442\u0430\u043d\u0435\u0446. Abstract. This article discusses the stages of development of Kazakh-Uzbek children\u2019s dances in harmony with national values and cultural traditions. Key words: national value, cultural tradition, creative cooperation, dance. Globallashuv jarayonida har qan- day milliy madaniyat qardosh xalqlar madaniyati bilan muloqot qilishga qodir bo\u2018lmog\u2018i zarur. Markaziy Osiyo respublikalari orasida Qozog\u2018iston o\u2018zbeklarining milliy raqs san\u02bcati o\u2018ziga xos xususiyatlari, tarixi va shakllanish jarayoni bilan ajralib turadi. Qozog\u2018is- ton xalq Assambleyasi raisining o\u2018rin- bosari Marat Almosovich Azilxonov to\u2018g\u2018ri ta\u02bckidlaganidek, \u201cQozoqlar va o\u2018zbeklar tarixan bir-biri bilan yon- ma-yon yashab, doimo bir-biriga alo- hida mehr bilan yaqindan nazar tash- lab, asrlar mobaynida bir-birini qo\u2018llab \u2013 quvvatlab kelgan. Ikkala xalqning","57 \u211602 2022 ham milliy qadriyatlari, ilmiy \u2013 ad- Hamma zamonlarda ham milliy abiy aloqalari o\u2018tmish tajribalari- raqslar hayotcevarlikning tarkibiy ni o\u2018zlashtirib, ayni paytda hozirgi qismi bo\u2018lib kelgan. O\u2018zbek raqsla- zamon madaniy kashfiyotlari asosi- rini Qozog\u2018istonda barcha millatlar da o\u2018zini boyitib, o\u2018zining yangidan birdek sevadi, ayniqsa, \u201cLazgi\u201d va \u2013 yangi qirralarini namoyon qilmo- \u201cAndijon polkasi\u201dga hamma erkin, qda\u201d[1;]. Millatlar o\u2018rtasida birodarlik jo\u2018shib o\u2018ynaydi. O\u2018ziga xos madani- va qon - qardoshlik rishtalarini mus- yat belgisi sifatida milliy raqslar turli tahkamlashning eng ta\u02bcsirchan vo- millatlarni yana-da yaqinlashtirib, sitalaridan biri \u2013 san\u02bcat va adabiyot ularni yaxshilik va ezguliklarga da\u02bc- hisoblanadi. vat etadi. Keyingi yillarda SAN\u02bcAT VA O\u2018zbekiston poy- adabiy \u2013 madaniy ADABIYOT taxti Toshkent shahri aloqalarning ORQALI bilan chegaradosh umuminsoniy qa- XALQLAR Janubiy Qozog\u2018iston driyat sifatida yuqori BIR-BIRINING eng ko\u2018p raqs va mu- bosqichga ko\u2018tarili- TURMUSH siqiy dastalar, ans- shi xalqaro muno- TARZINI, ambllarga ega yirik sabatlar taraqqiy- MADANIYATI VA hudud bo\u2018lib, unda otida yangi sahifa QADRIYATLARINI yarim milliondan ochdi. Xususan, Qo- MUNTAZAM ziyod o\u2018zbek milla- O\u2018RGANIB, zog\u2018iston va O\u2018zbeki- BIR-BIRLARINI ti vakillari istiqomat ston Respublikalari RUHAN BOYITIB qiladi. Respublika- o\u2018rtasida diploma- BORMOQDALAR. da xizmat ko\u2018rsat- tik munosabatlar gan madaniyat xo- o\u2018rnatilganligining dimi, Qozog\u2018iston 30 yilligi doirasi- respublikasi jurnal- da bir qator ilmiy \u2013 istlar uyushmasi va amaliy anjumanlar, Qozog\u2018iston xalq As- adabiy uchrashuvlar, sambleyasi kengashi madaniy \u2013 ma\u02bcrifiy a\u02bczosi, Xalqaro Amir tadbirlar o\u2018tkazildi. Temur jamg\u2018arma- Qadim ildizlari tut- sining Qozog\u2018iston ash ikki qardosh respublikasi rahbari, mamlakatda ham \u201cDostiq\u201d ordeni va qa- bu anjumanlar tor yubiley medallari haqiqiy san\u02bcat bayra- sovrindori Ikromjon miga aylanib ketdi. Hoshimjonov barcha Ularda yuksak ma- madaniy \u2013 ma\u02bcrifiy horat bilan ijro etilgan jozibali milliy tanlovlar va tadbirlarning tashab- raqs va qo\u2018shiqlar, yalla va laparlar buskori, faol tashkilotchilaridan biri. hammaga estetik zavq ulashib, U rahbarlik qilayotgan \u201cDo\u2018stlik\u201d do\u2018stlik va qardoshlik rishtalari- hamjamiyatining mamlakatimizda ni yana-da mustahkamladi. San\u02bcat nufuzi baland. va adabiyot orqali xalqlar bir-birin- Janubiy Qozog\u2018istonda o\u2018zbek ing turmush tarzini, madaniyati va milliy raqs san\u02bcatining rivoji xalq qadriyatlarini muntazam o\u2018rganib, udumlari, urf-odatlari va madaniy bir-birlarini ruhan boyitib bormo- an\u02bcanalari bilan chambarchas qdalar. bog\u2018liq. \u201cDo\u2018stlik\u201d hamjamiyatining","58 bag\u2018rikenglik va millatlararo totuv- hammad Ali, O\u2018zbekiston xalq shoiri likni, birdamlikni yana-da mustah- Usmon Azim, O\u2018zbekiston xalq artisti, kamlashga alohida hissa qo\u2018sha- O\u2018zbekiston davlat xoreografiya ak- yotganligini \u201cAlla aytar o\u2018zbek ayoli\u201d ademiyasi professori Gavharxonim an\u02bcanaviy respublika festivali misol- Matyoqubova, O\u2018zbekiston Respub- ida ham ko\u2018rish mumkin. O\u2018zbek likasi Oliy Majlisi Senati a\u02bczosi, taniqli madaniyati va adabiyotining fidoy- shoir va publitsist Farmon Toshev, ilari Begmat Turdiqulov, Nurxon O\u2018zbekiston Yozuvchilar uyushmasi Do\u2018smetova, Abdurahim Pratov, raisining o\u2018rinbosari G\u2018ayrat Majid, Soatoy Kamolova, Pobedaxon Ab- Xalqaro Jaloliddin Manguberdi fon- dazimova, Erkinoy Sultonova, Ozo- dining rahbari, tarixchi olim Bekzod da Musayeva kabi markaz faollari Abdirimov kabi ikkala el ehtiromi- yozgan ssenariylar asosida festival dagi o\u2018zbek ilm \u2013 fani, san\u02bcati va ad- doirasida kompozitsion raqslar ham abiyotining atoqli namoyandalari ijro etiladi. Chaqaloqni beshikka be- ishtirok etganligi tadbirga ko\u2018tarinki lash, sochqi sochish, ism qo\u2018yish, ruh bag\u2018ishladi. Ayniqsa, O\u2018zbekis- bo\u2018g\u2018irsoq pishirish, uni qo\u2018shnilarga ton xalq artisti Gavharxonim Matyo- tarqatish kabi udumlar raqs ko\u2018rin- qubovaning \u201cMahorat darslari\u201d, ishida ijro etiladi. O\u2018zini o\u2018zbek milla- Xalqaro \u201cLazgi\u201d festivalining mutlaq tining vakiliman deb hisoblaydigan g\u2018olibasi, \u201cNihol\u201d davlat mukofoti har bir inson avlod-ajdodlarimizdan sovrindori Dilnozaxon Ortiqovan- qolgan takrorlanmas boy ma\u02bcnaviy ing jozibador raqslari o\u2018zbek milliy merosdan faxrlanadi va yoshlarni san\u02bcati ixlosmandlari uchun haqiqiy shu ruhda tarbiyalaydi. tuhfa bo\u2018ldi. Ikromjon Hoshimjonovning Chimkent shahridagi 14 \u2013 tashabbusi bilan 1995 yildan beri umumta\u02bclim maktabining \u201cYulduz- Chimkent shahrining markaziy cha\u201d raqs dastasi (xoreograf A.Ta- madaniyat va istirohat bog\u2018ida lasbekov) respublikamizdagi eng bayrami o\u2018tkazish an\u02bcanaga aylan- mashhur ansambllardan biridir. gan. Unda qozog\u2018istonlik o\u2018zbeklar muntazam ishtirok etib, bir necha zamonlar osha sayqal topib, ha- bor g\u2018oliblikni qo\u2018lga kiritdi. Ansam- nuzgacha saqlanib kelayotgan blda \u201cLazgi\u201d va \u201cAndijon polkasi\u201d yurak dardlari va sevgi rozlari taran- raqsining yakka hamda guruh vari- numidan iborat bo\u2018lgan \u201cOmon- antlari katta mahorat va o\u2018ziga xos yor\u201d, \u201cXorazm Lazgisi\u201d, \u201cSumbula\u201d, ifoda usullari bilan sahnalashtiril- \u201cBeshqarsak\u201d kabi ashula va raqslar- gan. ni behad baland zavqu shavq bilan ijro etishadi. 2022 yil 23 - 24 sen- Raqs san\u02bcati chegara bilmaydi. tyabr kunlari o\u2018tkazilgan mazkur Ming yillardan beri u hayot va go\u2018zal- an\u02bcanaviy bayram Qozog\u2018iston va lik falsafasi, yurt tarixi va milliy qadri- O\u2018zbekiston Respublikalari o\u2018rtasida yatlarini, go\u2018zallikka oshufta ko\u2018ngil diplomatik munosabatlar o\u2018rnatil- armonu zavqlarini ifodalaydi. Atoqli ganligining 30 yilligiga bag\u2018ishlandi. san\u02bcatshunos Sh.Toxtasimov to\u2018g\u2018ri Tantanada O\u2018zbekiston Respublika- ta\u02bckidlaganidek, \u201cO\u2018zbek raqs san\u02bcati si Vazirlar Mahkamasi huzuridagi tarixiga nazar solsak, uning asoslari- millatlararo munosabatlar va xorijiy ni oddiy, mehnatkash xalqimiz yarat- mamlakatlar bilan do\u2018stlik aloqa- ganiga guvoh bo\u2018lamiz. Ilk raqslar lari qo\u2018mitasining tashabbusi bilan xalqning mehnat jarayoni, g\u2018am-qa- O\u2018zbekiston xalq yozuvchisi Mu- yg\u2018ularidan shakllangan, orzu-umid- larini ifoda etgan. Tarixdan bizgacha","59 \u211602 2022 \u201cKatta o\u2018yin\u201d nomi bilan ma\u02bclum doi- G\u2018affor Mo\u2018minov, biologiya fanlari ra usullariga mos harakatlar asosiga doktori, professor A.Ibragimxodja- qurilgan raqs san\u02bcati, \u201cXona bazm yev, fizika - matematika fanlari dok- o\u2018yin\u201d nomi bilan maishiy raqslar, Xo- tori, professor Boltash Abdalimov, razmda olov bilan raqsga tushiladi- O\u2018zbekistonda xizmat ko\u2018rsatgan gan \u201cOtash o\u2018yin\u201d, Buxoroda tizzada artist Jumadullo Rametov kabi ijod o\u2018tirgan holda o\u2018rnidan turmasdan va san\u02bcat namonyandalarining, olim o\u2018ynaladigan ayollar raqslari, Samar- va jamoat arboblarining ilm va ha- qand viloyatining tog\u2018li tumanlarida yot yo\u2018llari yoshlarimizga ibratdir. As- erkaklarning qarsak bilan ijro etiladi- riy an\u02bcanalarga ega ta\u02bclim maskan- gan \u201cBeshqarsak\u201d raqslari yetib kel- iga 1989 yilda buyuk o\u2018zbek shoiri gan\u201d [2;]. va dramaturgi Hamza Hakimzoda Niyoziy nomi berilgan. O\u2018zbek va O\u2018zbeklarning oliyhimmat va qozoq xalqlarining farzandlari bir saxovatpeshaligi, bag\u2018rikengligiga ota-onaning bolalaridek ahil va to- juda ko\u2018pchilik havas qiladi. Chim- tuv ekanligi ularning raqslarida kentliklarning faxri \u2013 Farog\u2018atxon ham aks etadi hamda Qozog\u2018iston hojiona Hojimetova o\u2018zbeklar milliy va O\u2018zbekiston davlatlari o\u2018rtasidagi san\u02bcatining ma\u02bcnaviy homiylaridan do\u2018stlik va hamkorlikning istiqbo- biri. Uning bevosita jonkuyarligi li porloq ekanligidan darak beradi. bilan \u201cYulduzcha\u201d raqqosa qizlar Maktabda \u201cQaldirg\u2018och\u201d bolalar raqs guruhi Almati, Astana va Pavlodar dastasi faoliyat yuritadi. Ular res- shaharlaridagi tanlovlarda, \u201cXalqlar publikada o\u2018tadigan ma\u02bcrifiy tadbir- do\u2018stligi\u201d respublika festivalida lar va do\u2018stlik festivallarida \u201cDoira\u201d, muntazam ravishda ishtirok etib, \u201cBuxorcha\u201d, \u201cAndijon polkasi\u201d, \u201cQa- o\u2018zlarining milliy qadriyatlar bilan rg\u2018alar\u201d, \u201dKim oladiyo, shuginani-yo\u201d, ziynatlangan \u201cTanovar\u201d, \u201cMunojot\u201d, \u201cQaldirg\u2018och\u201d hamda ommaviy va \u201cDilxiroj\u201d, \u201cAndijon polkasi\u201d, \u201cLaz- yakkaxon ijro etiladigan \u201cLazgi\u201d kabi gi\u201d, \u201cNamanganning olmasi\u201d, \u201cBa- tomosha va yallali raqslar bilan faol hor valsi\u201d kabi raqslarini namoyish ishtirok etib kelishmoqda. qilib kelmoqdalar. Ularning xalqaro miqyosdagi muvaffaqiyatlarida xo- Davrlar o\u2018tishi bilan xalq ijodiy reograf \u2013 pedagog Abdurahmon namunalariga aylanib borgan bu Talasbekovning hissasi beqiyos. raqslar turli-tuman shakllarda jilo- lanib, o\u2018zining milliy jozibasi bilan Asrlarga tatigulik ko\u2018hna barchani birdek rom qiladi. 2023 madaniyati va ziyoratgohlari bi- yilda maktabning 105 yilligini keng lan shuhrat qozongan Turkiston nishonlanadi. Shu maqsadda raqs shahridagi 2 \u2013 umumta\u02bclim makta- dastasi Hamza Hakimzoda Niyoziy bi mamlakatimizdagi eng nufuzli sahnalashtirgan bolalar raqslari- ilm dargohlaridan biridir. Mazkur ni qayta tiklash bo\u2018yicha izlanishlar maktabda tahsil olgan kimyo fanlari olib bormoqda. Bu borada ular al- doktori, professor, birinchi o\u2018zbek batta O\u2018zbekiston davlat xoreografi- kimyogar olimasi Zarifa Saidnosiro- ya akademiyasi bilan hamkorlik qil- va, O\u2018zbekiston xalq rassomi Abdul- ish niyatida. haq Abdullayev, O\u2018zbekiston xalq yozuvchisi Odil Yoqubov, O\u2018zbeki- Ma\u02bclumki, o\u2018zbek milliy raqs stonda xizmat ko\u2018rsatgan san\u02bcat san\u02bcatida harakat shunchaki jis- arbobi Nosir Fozilov, Beruniy no- moniy ma\u02bcnodagi hodisa emas, midagi davlat mukofoti sovrindori, balki so\u2018zda izhor qilish mum- filologiya fanlari doktori, professor kin bo\u2018lmagan qalb tug\u2018yonlarin-","60 ing yorqin va jonli ifodasidir. Eng lari yozib qoldirilgan, eng asosiysi \u2013 ibtidoiy zamonlardan boshlab in- hanuzgacha Janubiy Qozog\u2018istonda soniyat fikrini to\u2018g\u2018ridan \u2013 to\u2018g\u2018ri if- istiqomat qilayotgan o\u2018zbeklar lapa- odalashdan ko\u2018ra uni qo\u2018shiq ko\u2018rin- rlari bir tizimga tushirilmagan\u201d[3;9]. ishida ijro etish ancha ta\u02bcsirchan ekanligini anglagan. Qozog\u2018is- Albatta, milliy qadriyatlar, ton o\u2018zbeklari bolalar raqslarining urf-odatlar, an\u02bcanalarni o\u2018zida jo qil- ko\u2018pchiligi lapar va o\u2018lanlar vosita- gan Qozog\u2018iston o\u2018zbek bolalar raqs sida ijro etishga moslashgan. \u201cBoy- san\u02bcatini ma\u02bcnaviyatimiz va madani- chechak\u201d, \u201cJamalagi tillo qizgina\u201d, yatimizning azaliy sarchashmasi \u201cYomg\u2018ir yog\u2018aloq\u201d, \u201cNon yopganda sifatida asrash, uning yo\u2018qolib bo- mening oyim\u201d kabi raqslar shular rayotgan shakllari va harakatlarini, jumlasidandir. Inson tuyg\u2018u va his- atamalarini tiklash, raqslar tabiatini, siyotlar olamida yashaydi, shuning tarkibiy tuzilishi, ijro xususiyatlari, uchun unga fikr yoki g\u2018oyani raqs va libos va zebu-ziynatlarning ijroni qo\u2018shiq shaklida yetkazish katta sa- to\u2018ldirish, mukammallashtirish va mara beradi. Qozog\u2018iston o\u2018zbeklari sayqallashtirishdagi ahamiyatini etnomadaniyat birlashmalarining ilmiy jihatdan o\u2018rganish raqs san\u02bca- \u201cDo\u2018stlik\u201d hamjamiyati qoshida- ti sohasida faoliyat olib boruvchi gi Ilmiy kengash raisi, pedagogi- ijrochi baletmeyster, tashkilotchi va ka fanlari doktori, professor N.Al- ilmiy tadqiqotchilar oldida turgan metov to\u2018g\u2018ri ta\u02bckidlaganidek, \u201c570 dolzarb vazifalardan biridir. mingdan ortiq o\u2018zbeklar istiqomat qiladigan Janubiy Qozog\u2018iston Xulosa o\u2018rnida shuni alohida o\u2018zbeklarining folkloristikada hali ta\u02bckidlash zarurki, tinchlik va bi- o\u2018rganilmagan ko\u2018plab ilmiy mua- rodarlik madaniyati eng avvalo mmolari bor. Shulardan biri \u2013 Qo- milliy madaniyatlar muloqoti, o\u2018zaro zog\u2018iston o\u2018zbeklarining laparlari. ishonch va bag\u2018rikenglik falsafasidir. Xalqning bir necha avlodlari og\u2018zaki San\u02bcat va madaniyat orqali yosh- holda transformatsiya qilib kelgan larimiz bir \u2013 birini hurmat qilish, ya- laparlarning faqat ba\u02bczi bir parcha- na-da yaqinlashish, umuminsoniy fazilatlarni birgalikda qadrlash ilmi- ni o\u2018rganadilar. Foydalanilgan adabiyotlar: 1. Azilxanov M.O. Milliy madaniyatlar integratsiyasi \u2013 xalqaro hamkorlik vositasi. O\u2018zMTRK \u201cO\u2018zbekiston\u201d teleradiokanalining \u201cBedorlik\u201d eshittirishi. 2022yil, 26 sentyabr. 2. Toxtasimov Sh. https:\/\/uza.uz\/oz\/society\/ 3. Hoshimjonov I., Qirg\u2018izboyev G\u2018., Turdiqulov B., Tursunmetov S. Janu- biy Qozog\u2018iston viloyati o\u2018zbek madaniyati markaziga 25 yil. Chimkent.: 2019. 4. Hoy-hoy o\u2018lan, jon o\u2018lan... Qozog\u2018ston o\u2018zbeklarining xalq og\u2018zaki ijodi. Shimkent.: 2019. 5. Turkiston tarixi. To\u2018plam. 1-j. Chimkent.: 2018.","XOREOGRAFIYA 61 \u211602 2022 SAN\u02bcATIDA AKTYORLIK Annotatsiya. Ushbu maqolada MAHORATI xoreografiya san\u02bcatida professional xoreograf va raqqoslarni tarbiyalash Shoira Hamidova, jarayonida aktyorlik mahorati darsin- O\u2018zbekiston davlat ing ahamiyati hamda dolzarb vazi- xoreografiya akademiyasi falari haqida so\u2018z boradi. \u201cSan\u02bcat nazariyasi va tarixi\u201d kafedrasi dotsenti Kalit so\u2018zlar. Xoreografiya, raqs, aktyor, mahorat, maktab, texnika, balet, obraz, teatr, spektakl. \u0410\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f. \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 \u0433\u043e- \u0432\u043e\u0440\u0438\u0442\u0441\u044f \u043e \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0438 \u0438 \u0430\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u044b\u0445 \u0437\u0430\u0434\u0430\u0447\u0430\u0445 \u0430\u043a\u0442\u0435\u0440\u0441\u043a\u043e\u0433\u043e \u043c\u0430\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u0430 \u0432 \u043f\u0440\u043e\u0446\u0435\u0441\u0441\u0435 \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u044f \u043f\u0440\u043e\u0444\u0435\u0441\u0441\u0438\u043e- \u043d\u0430\u043b\u044c\u043d\u044b\u0445 \u0445\u043e\u0440\u0435\u043e\u0433\u0440\u0430\u0444\u043e\u0432 \u0438 \u0442\u0430\u043d\u0446\u043e\u0440\u043e\u0432 \u0445\u043e\u0440\u0435\u043e\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u043e\u043c\u0443 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0443. \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430. \u0425\u043e\u0440\u0435\u043e\u0433\u0440\u0430- \u0444\u0438\u044f, \u0442\u0430\u043d\u0435\u0446, \u0430\u043a\u0442\u0435\u0440, \u043c\u0430\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u043e, \u0448\u043a\u043e- \u043b\u0430, \u0442\u0435\u0445\u043d\u0438\u043a\u0430, \u0431\u0430\u043b\u0435\u0442, \u043e\u0431\u0440\u0430\u0437, \u0442\u0435\u0430\u0442\u0440, \u0441\u043f\u0435\u043a\u0442\u0430\u043a\u043b\u044c. Annotation. This article talks about the importance and actual tasks of acting in the process of training professional choreographers and dancers in choreographic art. Keywords. Choreography, dance, actor, skill, school, technique, ballet, image, theater, performance. So\u2018nggi yillarda milliy xoreografi- ya san\u02bcatini rivojlantirish va targ\u2018ib qil- ish, butun dunyoga milliy madaniyat- imizning serqirra namunasi bo\u2018lgan raqs san\u02bcatini namoyish qilish borasi- da ko\u2018p ishlar amalga oshirilmoqda. Prezidentimiz tashabbusi bilan O\u2018zbeki- ston davlat xoreografiya akademiyasi va uning respublikamiz viloyatlaridagi fil- iallari, ixtisoslashgan maktab-internat- lari, ko\u2018plab san\u02bcat maktablari ochilib, o\u2018z faoliyatini olib bormoqda. Mana shunday jadal rivojlanayotgan jarayon- da xoreografiya san\u02bcatining qirralarini ko\u2018rsatib beradigan yangi- raqslar, yan- gicha talqin va shakldagi spektakllar va konsert dasturlari nafaqat xalqimizga, balki xorijiy muxlislarga ham manzur","62 bo\u2018lib kelmoqda. Bunda albatta raqs qaramay, balet va drama teatri tam- sahnalashtiruvchi yosh va iste\u02bcdodli oyillari o\u2018rtasida tub farqni ko\u2018rish baletmeysterlar mahorati qatorida mumkin. Balet teatri ko\u2018p jihatdan aktyorlik mahoratining ham xizmati drama teatri tajribasiga tayanadi. Xo- katta. reografiya san\u02bcatining barcha turlari, ayniqsa, balet teatrida ham aktyorlik Xoreografiya san\u02bcatida aktyorlik mahoratining o\u2018ta muhim. Teatr va mahoratini o\u2018rgatish muammosi do- raqs san\u02bcatining dunyoga kelish ildi- imo dolzarb bo\u2018lib kelgan va bugun zlari va rivojlanish bosqichlari deyarli bu muammo o\u2018z yechimini topib bir vaqtda sodir bo\u2018lgan. Teatr \u2013 ha- boryapti. Raqs ijrosida raqqosaning yot hodisalarini aks ettirish va jami- yoki raqqosning yuz ifodasining ta- yatda sodir bo\u2018layotgan voqealarga biiyligi, bo\u2018layotgan voqeaga muno- o\u2018z munosabatini ko\u2018rsatish, o\u2018ziga sabati, ifodalanayotgan holatlarning xos usullar, janr, yangi badiiy shakl va ta\u02bcsirchanligini oshirishda ichki ke- mazmun orqali dunyo bilan mulo- chinma san\u02bcatini o\u2018zlashtirgani juda qatga kirish san\u02bcatidir. Drama teatri muhim. Chunki raqs ijrochisi ham ijodkorlari va tomoshabin o\u2018rtasidagi raqs va plastika vositalari bilan o\u2018z uzluksiz aloqa tizimi azaldan mavjud. qahramoning ichki istiroblari, ke- Xuddi shu fikrni raqs va balet teatri chinmalarini tasvirlash va ifodalash- haqida ham aytish mumkin. Bino- da nihoyatdda tabiiy harakatlarni barin, balet teatr san\u02bcatining bir turi bajarishi lozim. bo\u2018lsa-da, ularning badiiy ifodaviy vo- sitalarida katta farq bor. Talabalarga raqs sirlarini o\u2018rgatishda yuqorida aytib o\u2018tilgan Balet spektaklini uch san\u02bcat tur- ifoda usullari ko\u2018pincha soxtaligi, larining uyg\u2018unligi tashkil qiladi: mu- nozik harakatlar bilan uyg\u2018unlash- siqa, xoreografiya va drama san\u02bcati. maganligi, raqsda faqat texnikaning Dramatik teatrning asosida drama- o\u2018zigina ishlashi baletmeystr uchun tik katta muammoni tug\u2018diradi. Chunki tomoshabin aytilayotgan qo\u2018shiqqa asar, so\u2018z birlamchi bo\u2018lsa, xo- raqsga tushayotgan raqqosaning reografiya va balet teatrida musiqa nafis harakatlari, plastikasi bilan bir- birlamchidir. Musiqa raqsning xarak- ga yuzdagi tabiiy ifodalaridan rohat- terini, kompozitsion tuzilishini, vo- lanishi, qo\u2018shiqning ma\u02bcnosini yana qealar rivoji va ehtiroslar darajasini ham chuqurroq anglashi zarur. belgilaydi. Raqs, musiqaning tem- po-ritmiga va vaqt birligi me\u02bcyorlari- Aktyorlik mahorati darsida asosan ga to\u2018la bo\u2018ysinadi. dramatik teatr aktyori uchun qo\u2018lla- nadigan uslublardan foydalaniladi. Buyuk nemis shoiri G.Geyne ayt- Ishlash jarayonida munosabatga qu- ganidek, \u201c...so\u2018z tugagan yerda mu- rilgan etyudlar, tasavvurni uyg\u2018otu- siqa boshlanadi. Baletda so\u2018z yo\u2018q, le- vchi mashqlar, diqqatni to\u2018plovchi kin san\u02bcatlarning eng buyugi bo\u2018lgan murakkab harakatlar amalga os- musiqa bor!\u201d. Xoreografiya musiqan- hiriladi. Bunday yondashuv bo\u2018lajak ing plastik harakatlari orqali jonlan- raqqosada ifoda usullarini aniq egal- tiriladi. Xoreografiya san\u02bcatida raqqos lash borasidagi ko\u2018nikmalarini shakl- ehtirosli fikrlarni, sahnadagi qahra- lantirib borishga yordam beradi. monlar o\u2018rtasidagi munosabatlar va ularning his tuyg\u2018ularini nafis plastik Dramatik va balet teatrining vositalari orqali ifodalaydi. Albatta o\u2018xshash jihatlari ham ko\u2018p bo\u2018lishiga","63 \u211602 2022 buning uchun raqqos klassik balet biri mazmun ifoda etsin, shaxsning texnikasini oliy darajada, mukammal va u yashagan davrning ruhini bera o\u2018zlashtirgan bo\u2018lishi talab etiladi. olsin\u201d. Milliy raqs san\u02bcati asoschilari Tamaraxonim, Mukarram Turg\u2018un- Balet plastikasi nihoyatda shar- boyeva, Isoxar Oqilov, Farg\u2018ona, Xora- tli, o\u2018ziga xos qonuniyatlari va uslu- zm va Buxoro maktablarining ajoyib blariga ega. Balet raqqosining tana- namunalari haqida gap ketsa, raqs si nafaqat xoreografik qadamlarni teatrining spektakllari alla qachon texnik jihatdan professional bajaril- kashf etilganining guvohi bo\u2018lamiz. ishini, balki dramatik aktyor sifatida Chuqur va ehtirosli ichki monologga xatti- harakat qilishni, yaratayotgan qurilgan \u201cTanavvor\u201d va \u201cMunojat\u201dni obrazning his tuyg\u2018ulari bilan ya- monospektakl deb atasak, yanglish- shashni taqqazo etadi. Uning tanasi maymiz . \u201cko\u2018rishi\u201d, \u201deshitishi\u201d, \u201co\u2018ylashi\u201d, \u201cshub- halanishi\u201d kabi ichki xatti-harakatlar, Kamina o\u2018ttiz yil davomida san\u02bcat hamda charchoq, hastalik, o\u2018lim kabi institutida drama va estrada ak- fizik holatlarni o\u2018zida aks ettira olishi tyorlari hamda rejissyorlarni tar- kerak. Sahnada bo\u2018layotgan voqea biyalash bilan shug\u2018ullandim. Oxir- va hodisalarning o\u2018zini emas, balki gi besh-olti yil ichida xoreografiya ularga bo\u2018lgan munosabatni, ya\u02bcni davlat akademiyasida \u201caktyorlik \u201cnimani\u201d emas, \u201dqanday\u201dni ifoda- mahorati\u201ddan dars berib kelmoqda- lash xoreografiya tabiyatiga xosdir. man. Xoreografiya san\u02bcatida aktyor- Buyuk fransuz baletmeysteri, nazari- lik mahoratidan dars berish o\u2018qitu- yotchi va \u201czamonaviy baletning vchidan ma\u02bclum kasbiy bilim va otasi\u201d J.J.Noverr aytganidek \u201c... xat- ko\u2018nikmalarni talab qiladi. Raqs va ti- harakatga qurilgan, mazmun va musiqa san\u02bcatidan xabardor bo\u2018lish, ma\u02bcnoli, xissiyotlarni yorqin ifoda dramaturgiya qonunlari, rejissura eta oladigan ijrogina, raqqosni xo- asoslari hamda professional raqqos reografik aktyorga aylantiradi\u201d. va baletmeysterlarni tayyorlash ja- rayonini yaqindan bilishi nihoyatda Xoreografiyaning eng ommabop muhim. Bugungi kunga qadar xo- turi bo\u2018lmish, milliy va zamonaviy reografiya san\u02bcatida aktyorlik mahor- raqs, balet san\u02bcatidan tubdan farq ati fanidan bironta maxsus adabiyot qiladi. Raqs san\u02bcatinig eng ajoyib si- mavjud emas. Bunday qo\u2018llanman- fatlaridan biri, bu uning jozibasi, ta\u02bc- ing yaratilishi nihoyatda dolzarb. Ho- sirchanligi va badiiy ifodaviylikning zirgi kunda san\u02bcat turlarining sintezi namoishidir. Bunday ajoyib fazilat- jadal ravojlanayotgan bir vaqtda kat- lar, ayniqsa bizning milliy o\u2018zbek ta maydonlarda o\u2018tkaziladigan om- raqslarimizga xos. Lekin ba\u02bczan, tex- maviy tomoshalar, shou dasturlari, nik jihatdan yuqori darajada bajaril- estrada va sirk tomoshalari, televid- gan ijroda, nimadir yetishmagandek, eniye orqali ko\u2018rsatiladigan kliplarni ijrochi va tomoshabin o\u2018rtasida hissiy xoreografiyasiz va aktyorlik mahora- bo\u2018shliq paydo bo\u2018lgandek tuyuladi. tisiz tasavvur qilish mumkinmi? O\u2018zbek xalq raqslarining bilimdoni Muhammadxon Bidyorshumning Balet, opera, operetta, estrada, o\u2018z shogirdlariga qarata: \u201cMuntazam sirk, shou spektakllarni yaratishda shug\u2018ullaning! Gavda, qo\u2018l, oyoq, yuz, malakali ijrochi \u2013 raqqoslar va ular- ko\u2018z, qosh, xullas tananing barcha ga aktyorlik mahoratidan aniq vazi- a\u02bczolari shunday tilga kirsinki, har fa qo\u2018ya oladigan malakali profes-","996864 sionFaOl YDArLeAjisNsyILoGr-AbNaleAtDmAeBysIYteOrTlaLrAnRi o\u2018rganishga, qolaversa hayotni an- tarbiyalash zarurdir. Buning uchun glashga o\u2018rgatadigan asosiy fan his- bo\u2018l1g. \u2018uAsizizxovreOo.gTrialsfhlaurnaoksltiykokralikirimsha.-\u2012 Toosbhlaknenadt:iF. Sahnu, 19b9o6is. raqs ijrochisi ham hora2t. i BuengsmuralatorivnEi . Hbioriznircghiio\u2018zqbaedkaamd-abiybutilfinaninogrqleaklsi iskaqhantaladma ola\u2018zri.n\u2013i Tfaooshl ikjoednity: Flaarnd,a1n985b. oshlab o\u2018zlashtirishi, xo- holatda tutish, hodisa va voqealarga reog3.rafNikuremtyoundovvAa. Tnaonmlaenrglaarndaasaor\u2018lzar. 1o-jnilgd.li\u2013Tv.a: Ahkiassdieymmnuanshosr,a2b0a1t2d. a bo\u2018lish ko\u2018n4ik. mSaaildaxroinniotvadMb. iqAloeqtiash-aigraalaosdhuatv-va kimo\u2018on-ikismhoarlaalraigr.a\u2013Te.:gFaanb, o20\u2018la0d8i.. Ijod so- \u0437dllia\u0430kiny\u0440aim\u044365Xss\u0431h..uia,\u0435il2\u0421Sho\u0436k0a\u0435ose\u043d0fa\u0440rra\u043ea8a\u043bqrt\u0439.okiilv.i\u043bab\u0414S\u0438v\u0436aH\u043dvy.a.\u0433\u0420tlP\u0432i.os\u0438rha\u0441i\u041angk\u0442\u043b\u0438sme\u0430o\u043ar\u0441aan\u0435\u0441lk.ni\u0438n\u0412ki\u0444gi\u044b,o\u0438av\u043f\u2018izk\u043as.lt\u0430ti1ygi7\u0446ko:i\u0438anr\u0422.-\u044fi\u0435-\u043eT\u0440o\u0438hhz\u0438sm\u043baah\u044f\u043bmsaki\u043e\u0440dte\u043a\u0435banq\u0443\u0447et\u0442i\u0435l:fb\u0438aaO\u0432a\u0432do\u044b\u2018h\u043dzil.i\u0445bo\u044bya\u0430e\u0445i\u043altkh\u0442isok\u043e\u0430tom\u0432\u043ao\u2018.\u0442nr\u043e\u2013sm\u0432aM\u041ctaii.ls,nl\/hi1\/by9a8ed\u041di6nab\u043e.svo\u0432iok\u2018\u043ellmio\u0435bpidxe\u0432ia-- 7. \u041e\u0441\u0442\u0438\u043d \u0414\u0436.\u041b. \u0421\u043b\u043e\u0432\u043e \u043a\u0430\u043a \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435 \/\/ \u041d\u043e\u0432\u043e\u0435 \u0432 \u0437\u0430\u0440\u0443\u0431\u0435\u0436\u043d\u043e\u0439 \u043b\u0438\u043d\u0433\u0432\u0438\u0441\u0442\u0438\u043a\u0435. \u0412\u044b\u043f8F..o17yH:d\u0422aa\u0435kl\u043eiam\u0440n\u0438og\u044fvaM\u0440n\u0435. \u0447aO\u0435d\u2018z\u0432ab\u044bbe\u0445yko\u0430t\u043atill\u0442ai\u043edr\u0432a: . \u2013 \u041c., 1986. pragmatik talqini: Filol. fan. dokt. ... matnning diss91. .\u2013.STtoQasnuhirskbleaonvnstok, 2viy0aK1M1.. S. .BAolkatlyaorgrnainxgoson\u2018zuutsqtiiydaakisthtluarslharii(nikinkginpchrai gtomma)l.i\u2013ngT.i:v1i9st6i2k tahl2il.i R\/\/ aXhomrijioynfoilovloMg.iyOa.\u2018z\u2013bSeakmteaarqtratnadri,x2i0. \u201316T..:41-9s8o2n. 130. .MEarxkminuAd\u2019zoavmJ.. PAakktaynoralnikinmgaohsohriqatki o(o\u2018n\u2018qguliv. Kqion\u2018ollaqnismsaa. \u2013). T\u2013.,T2.:020010. 5 141.. PEertkroinvaA\u2019zEam.V..AAkntoeyrisnkionygejamydasatrei rosltmvoas\u2013i.MK.i:n2o0q0is4sa. \u2013 T., 2001.","\u201cAVESTO\u201d 65 \u211602 2022 DAVRI BOLALAR MAROSIM Annotatsiya: Xorazm bolalar RAQSLARI folklor raqslari shakllanishida xalq marosimlarining o\u2018rni va ahamiyati Gavhar beqiyos. Mazkur maqolada \u201cAvesto\u201d Matyoqubova, davri bolalar marosim raqslarining O\u2018zbekiston xalq artisti, etnografik xususiyatlari tadqiq O\u2018zDXA professori qilinadi. Kalit so\u2018zlar: marosim, raqs, o\u2018yin, \u201cAvesto\u201d, Xorazm. \u0410\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f: \u041d\u0435\u0441\u0440\u0430\u0432\u043d\u0438\u043c\u0430 \u0440\u043e\u043b\u044c \u0438 \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u043e\u0431\u0440\u044f\u0434\u043e\u0432 \u0432 \u0444\u043e\u0440\u043c\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u0438 \u0425\u043e\u0440\u0435\u0437\u043c\u0441\u043a\u0438\u0445 \u0434\u0435\u0442- \u0441\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u0442\u0430\u043d\u0446\u0435\u0432. \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u044e\u0442\u0441\u044f \u044d\u0442\u043d\u043e\u0433\u0440\u0430- \u0444\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0434\u0435\u0442\u0441\u043a\u0438\u0445 \u043e\u0431- \u0440\u044f\u0434\u043e\u0432\u044b\u0445 \u0442\u0430\u043d\u0446\u0435\u0432 \u00ab\u0430\u0432\u0435\u0441\u0442\u0438\u0439\u0441\u043a\u043e\u0433\u043e\u00bb \u043f\u0435- \u0440\u0438\u043e\u0434\u0430. \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430: \u043e\u0431\u0440\u044f\u0434, \u0442\u0430\u043d\u0435\u0446, \u0438\u0433\u0440\u0430, \u201c\u0410\u0432\u0435\u0441\u0442\u0430\u201d, \u0425\u043e\u0440\u0435\u0437\u043c. Annotation. The role and importance of folk rituals in the formation of Khorezm children\u2019s folk dances is incomparable. This article discusses the ethnographic features of children\u2019s ritual dances of the \u00abAvestan\u00bb period. Key words: ritual, dance, game, \u201cAvesta\u201d, Khorezm. Avloddan-avlodga og\u2018zaki va yozma tarzda o\u2018tib, asrlar sinoviga bardosh berib, bizgacha yetib kelgan nodir yodgorliklar orasida afsonaviy Xorazmda yaratilgan \u201cAvesto\u201d kitobi alohida ahamiyat kasb etadi. U mol terisiga yozilgan bo\u2018lib, avvaliga qadimiy xorazmliklar tilida \u201cPo\u2018stak\u201d, \u201cApastak\u201d, keyinchalik \u201cAbisto\u201d, ya\u02bcni Abi- stap deb atalgan. \u201cAvesto\u201dda yaxshilik, ezgulik, vatanparvarlik va bag\u2018rikenglik kabi umuminsoniy tuyg\u2018ular tarannum etiladi. \u201cAvesto\u201d ya\u02bcni \u201cHayot yo\u2018riqnomasi\u201d deb nomlangan kitob; zardushtiylik dini- ni shakllantirishga asos bo\u2018lgan nazariy manbalarning umumiy nomi va bu din- ning asosiy kitobi\u201d [1;7]. \u201cAvesto\u201d ma\u02bcnaviyat, tabiatshunos- lik, tibbiyot, san\u02bcat, madaniyatshunoslik,","66 chorvachilik, axloq \u2013 odob kabi so- tarqalgan xalq qo\u2018shiqlari, xilma-xil halarni qamrab olgan. Unda barcha mazmunli raqslar, folklor o\u2018yinlari, irim davrlar uchun muhim bo\u2018lgan tarixiy, e\u02bctiqodlarining kashf etilishi xayotimiz- falsafiy, lisoniy masalalar haqida keng da, tariximizda katta voqea bo\u2018ldi. fikr yuritilgan. Aynan shu xususiyatlari bilan u faqat diniy asar emas, balki Mutaxassislar folklor asarlarini muhtasham ma\u02bcnaviy \u2013 madaniy yod- tahlil qilganlarida oldinlari asosiy e\u02bcti- gorlik hisoblanadi. \u201cAvesto\u201d kitobining borni g\u2018oya masalasiga qaratgan edi- asoschisi Zardusht Xorazm farzandi. U lar. Natijada, folklor asarlaridagi diniy 7 yoshidan 15 yoshigacha Barzin-Ku- mifologik tushunchalar ikkinchi dara- rush ismli avliyoning qo\u2018lida o\u2018qib, turli jali masalaga aylanardi. soha tangrilarini madh etuvchi \u201cYasht\u201d duolarini, alqovlarini yod olgan. Qabi- Ma\u02bclumki, mifologiya turli din- lalar o\u2018rtasidagi ziddiyatlarning asosiy lar bilan qorishib egizak bo\u2018lib ket- sabablaridan biri ko\u2018p xudolik ekanlig- gan. Chunki xalq ijodiy ilmiy asarlar- ini anglab yetganida u hali o\u2018smir edi. ida qadimiy tasavvur tushunchalar ko\u2018proq diniy ko\u2018rinishda uchraydi. 23 yoshida Zardusht butun olam Ularni tahlil qilish uchun din tarixini hukmdori Ahuramazda yaxshilik xu- muayyan tarzda bilish talab etiladi. dosi ekanligini anglab yetadi hamda Masalan, Xorazmning eng qadimiy yolg\u2018iz unga itoat etish lozim degan \u201cLazgi\u201d raqsining uch ming yillik tar- qarorga keladi. Yovuzlik ma\u02bcbudi Axri- ixini yozishda \u201cAvesto\u201d kitobidagi diniy manni kishilarga yomonlik, baxtsizlik, manbalarga, marosimlarga, e\u02bctiqod va kasallik olib keluvchi kuch deb uqtira- udumlarga asoslandik. Yig\u2018ilgan ma- di. Qabilalar orasida bu g\u2018oyani targ\u2018ib teriallarni YUNESKO tashkilotining qiladi. Parij shahridagi qarorgohiga yubordik. 2019 yil 12 dekabr kuni YUNESKOning Asta-sekinlik bilan yakka xudo- Bogoto shahrida bo\u2018lib o\u2018tgan 14 sessi- lik to\u2018g\u2018risidagi ta\u02bclimot qabiladosh- yasida reprezintativ ro\u2018yxatga kiritildi. lar orasida tarqala boshladi. Zardusht dunyo tarixida birinchilardan bo\u2018lib Shuningdek, otashparastlarning insoniyat qalbiga yaxshilik va ezgulik \u201cQuyoshga e\u02bctiqod\u201d, \u201cOlovga sajda\u201d, urug\u2018ini qadaydi. Jamiyat taraqqiyoti \u201cOlov bazmi\u201d, \u201cMash\u02bcala\u201d, \u201cChanoq raq- ham yakka xudolikka o\u2018tishni taqozo si\u201d, \u201cQayroq raqsi\u201d, \u201cAnaxita\u201d, \u201cPoq-poq\u201d qilganligi sababli, Zardusht asos sol- o\u2018yinlarini \u201cAvesto\u201d kitobidagi qadimiy gan Zorastrizm dini keng yoyila bosh- e\u02bctiqod marosimlarida ijro etilgan ladi. Ko\u2018p xalqlar uni donishmand avli- ma\u02bclumotlar asosida tikladik. \u201cAvesto\u201d - yo sifatida tan oladi. xalq ijodiyotining mahsuli sifatida ham qadrlidir. Unda bayon etilgan qadimiy Zero, hamma zamonlarda ham ajdodlarimizning urf-odatlari, udum- odamlar ezgulikni ardoqlaydi, yovuzli- lari, tomoshalaridagi o\u2018yinlari dastlab kni la\u02bcnatlaydi. Insoniyatning ilk davri - ibtidoiy ko\u2018rinishda bo\u2018lsa, keyincha- ibtidoiy jamoa tuzumida paydo bo\u2018lib, lik maxsus tayyorgarlik ko\u2018rib ijro etila diniy e\u02bctiqodlar bilan yashab kelayot- boshlagan. Ijro etilgan qo\u2018shiq, mar- gan marosim va bayramlar Zardush- siyalar, alqovlar, gohlar va raqslarning tiylik g\u2018oyasi bilan qo\u2018shilib, birgalikda ko\u2018pchiligi xalqimiz tafakkuri yaratgan ado etish jarayonida yaxlit san\u02bcat sifati- asar sifatida o\u2018z qimmatini saqlab bi- da shakllandi. Xorazmda yaratilganligi zgacha yetib kelgan. uchun undan voha xalqining ko\u2018plab ma\u02bcnaviy \u2013 madaniy yodgorliklari, O\u2018zbek bolalar raqs san\u02bcatining qa- san\u02bcati, folklori badiiy ifodalangan. dim ildizlari insoniyatning ilk kurtak- \u201cAvesto\u201d bilan bog\u2018liq bo\u2018lgan urf-odat- lari bilan tutashib ketgan bo\u2018lib, uning lar, motivlar, obrazlar avloddan-avlod- shakllanish bosqichlari aynan yuqori- ga o\u2018tib, ba\u02bczilari xozirgacha eng ko\u2018p da nomlari tilga olingan marosim- lar va urf odatlar bilan chambarchas","67 \u211602 2022 bog\u2018liq. Ibtidoiy davrda qarsak, tayoq hisoblangan. va toshlarni urishtirish, hayvonlarga Musiqashunoslar necha asrlar- taqlid orqali hosil bo\u2018lgan tovushlar vaqt o\u2018tishi bilan asta-sekin shakllanib, dan buyon yashab kelayotgan \u201cSeg- ma\u02bclum mazmunga ega musiqiy usul- oh\u201d, \u201cDugoh\u201d, \u201cChorgoh\u201d kabi mumtoz larga aylanib bordi. Qadim qal\u02bcalardan asarlarni aynan \u201cAvesto\u201ddagi gohlar topilgan sopol idishlarda, qoyatosh- bilan bog\u2018lashadi. Professor N. Jo\u2018ra- larga muhrlangan rasmlarda cholg\u2018u yevning fikricha, \u201cShe\u02bcr va qo\u2018shiq ijro asboblari, raqs harakatlari aks etgan. etish, diniy marosimlarni badiiy tashkil Qadim o\u2018lka tarixini o\u2018rgangan tarixchi etish hamda sahna harakatlari eram- olim L.R. Sadokovning fikricha, \u201cTupro- izdan avvalgi ikkinchi ming yillik o\u2018rta- qqal\u02bcadan topilgan nog\u2018ora chalayot- larida mavjud bo\u2018lgan va ular yaxlit gan ayol surati Xorazmda eramizdan holda milliy san\u02bcatning ilk kurtaklari oldin zarbli cholg\u2018ular bo\u2018lganligi hisoblanadi.\u201d [8;750]. haqidagi asosiy dalildir\u201d [4;162]. Xuddi musiqa va ohang kabi raqs Bolalar raqs san\u02bcati yurtimiz o\u2018tmi- san\u02bcatining ham inson kamoloti, ruhiy shi, ulug\u2018 ajdodlarimiz tarixi, milliy qa- va hissiy olamiga ta\u02bcsiri beqiyosdir. driyatlarimiz zamirida shakllangan. Ayniqsa, o\u2018sib kelayotgan yosh avlod- Ibtidoiy davrlarda yozma manbalar ning tasavvurlari, borliqni ongli ravish- bo\u2018lmaganligi sababli odamlar mu- da idrok etishida, uning ma\u02bcnaviyati- siqani eshitish va yodda saqlash qo- ni yuksaltirishda milliy raqs muhim biliyati orqali avloddan-avlodga ye- ahamiyat kasb etadi. Biz bir qator tkazib, uning asl mohiyatini saqlab tadqiqotlarimizda zardushtiylar be- qolishgan. Eng qadim zamonlardan morlarni davolashda ham musiqa musiqa ilmining axloqiy, ma\u02bcnaviy- va raqsdan keng foydalanganligini ma\u02bcrifiy qiymati, tarbiyaviy ahamiyati ilmiy jihatdan o\u2018rganishga harakat beqiyos ekanligi e\u02bctirof etilgan. Profes- qildik. Amin bo\u2018ldikki, xuddi maqom sor H.Karomatov \u201cXorazmning Qal\u02bcaqir kabi milliy raqs san\u02bcatimiz ham mil- 2 ibodatxonasidagi kichik o\u2018choqlarda latimizning bebaho xazinasidir. Mu- turli nav unlardan yopilgan maosim taxassislarning fikricha, \u201cAvesto\u201dni patirlari va hayvon haykalchalarining qo\u2018shiq qilib kuylashning talab va mohiyati ayonlashadi. Bu an\u02bcana O\u2018rta me\u02bcyorlari bor. Ijro texnikasi bunda alo- Osiyoda XX asrgacha yetib kelib, bola hida ahamiyatga ega. Ijrochilar ruhan ushlab o\u2018tirgan ayol haykalchasini kul- bunga tayyor bo\u2018lishlari lozim.\u201d [9;185] cha shaklida yopish uchun qolip topil- gan\u201d [2;185], deydi. Afsonaviy o\u2018lka maqomlari va suvoralari ham ijrochidan, ham tin- Aynan \u201cbola ushlab o\u2018tirgan ayol\u201d glovchidan alohida ruhiy tayyorgarlik haykalchasi barcha marosimlarda bo- va musiqiy idrokni talab qiladi. \u201cAves- lalar ham ishtirok etganligini isbot- to\u201d marosimlarining Xorazm bolalar laydi. \u201cAvesto\u201d davri raqs san\u02bcatining folklor raqslari, xususan \u201cLazgi\u201d turku- shakllanish jarayoniga ham mazkur mi bilan mushtarak jihatlari alohida marosimlar kuchli ta\u02bcsir ko\u2018rsatgan. tadqiqot sifatida o\u2018rganilishi istiqbolda Ezgulikning yomonlik ustidan g\u2018alaba milliy raqs san\u02bcatini yangi bosqichga qozonishi qadim ajdodlarimizni hayo- olib chiqishi haqiat. tsevarlikka da\u02bcvat etgan. Otashparast- lik marosimlari teatrlashtirilgan uslub- O\u2018zida yuksak insonparvarlik g\u2018oy- da, musiqani raqs bilan hamohang alarini mujassam etgan bolalar folk- qilgan holda olib borilgan. Marosimlar lor raqs san\u02bcati ibtidoiy odamlarning ommaviy bo\u2018lib, bolalar ishtirokidagi turmush tashvishlaridan charchagan ashula, raqs va pantomimik o\u2018yinlar ruhiyatlariga taskin berib, yaxshilik va diniy teatrning muhim tarkibiy qismi ezgulikka chorlagani uchun ham as- rlar sinovini yengib o\u2018tib, umrboqiylik kasb etdi hamda eng qadimiy qadri-","68 yatlar sifatida e\u02bczozlanmoqda. Qadimgi davrlarda Amudaryoga Har bir ijodiy mahsul zamirida, bag\u2018ishlab qurbonlik berish va turli marosimlar o\u2018tkazish odat tusiga kir- xususan, o\u2018zbek folklor qo\u2018shiq va gan. \u201cAvesto\u201dda unga oid ko\u2018plab riv- raqslarida ezgulik va yovuzlik o\u2018rtasi- oyatlar keltirilgan. Ardvissura, Anaxita dagi kurash mujassam. Eng ibtidoiy Amudaryoning eng e\u02bczozli ma\u02bcbudasi davrlardan boshlab, odamlar ezgu- sifatida tasvirlangan. Suv poklanish likni ardoqlaydi, yovuzlikdan nafrat- va obodonchilik, qut \u2013 baraka ramzi lanadi. \u201cAvesto\u201dning eng qadimiy hisoblangan. Xorazm bolalar folk- qismlari Xorazmda yaratilganligi haqi- lor raqslaridan \u201cXubbimboy\u201d kom- da akad.S.P.Tolstov shunday deydi: . pozitsiyasida suvning muqaddasligi \u201cAvesto\u201dda Ardaxushmiton, Arda-Xiva, ulug\u2018lansa, \u201cSholi bayrami\u201d, \u201cQovun Kat, Xodoros, Muzdakxon, Xodorkant sayli\u201d singari raqslarda polizga suv kabi qadim Xorazm shaharlarining qo\u2018yilishi, sholining suvda o\u2018sishi, suv nomlari keltirilganligi fikrimizning kechib sholini parvarishlash kabi ho- dalilidir\u201d [3;185]. latlar raqs harakatlarida ifodalanadi. \u201cQayroq Lazgisi\u201d, \u201cMasxaraboz Xulosa o\u2018rnida shuni aytish mum- Lazgisi\u201d va \u201cSurnay Lazgisi\u201dning bo- kinki, bolalar folklor raqslari millat- lalar uchun yaratilgan variantlari mav- lararo totuvlik, bag\u2018rikenglik, ma\u02bcnaviy jud. 1992 yilda \u201cMeros\u201d bolalar raqs meros, madaniy boyliklar, ko\u2018hna tar- dastasining \u201cOlti xalfa\u201d folklor raqsi ixiy yodgorliklarga hurmat va milliy Turkiyaning Anqara shahrida o\u2018tkazil- iftixor tuyg\u2018usini his qilishni o\u2018rgatadi, gan Xalqaro festivalda Gran pri bilan o\u2018sib kelayotgan yosh avlodni vatanga taqdirlanishi Xorazm bolalar folklor sadoqat ruhida tarbiyalaydi. raqslariga jahon san\u02bcatshunoslarining qiziqishlarini yana-da kuchaytirdi. Foydalanilgan adabiyotlar: 1.\t Ma\u02bcnaviyat asosiy tushunchalar lug\u2018ati. \u2013 T.: \u201cO\u2018zbekiston faylasuflari milliy jamiyati\u201d nashriyoti, 2021. 2.\t Karomatov H. O\u2018zbekistonda moziy e\u02bctiqodlar tarixi.. T.: Jahon iqtisodiyoti va diplomatiya universiteti nashriyoti, 2008. 3.\t \u0422\u043e\u043b\u0441\u0442\u043e\u0432 \u0421.\u041f. \u0414\u0440\u0435\u0432\u043d\u0438\u0439 \u0425\u043e\u0440\u0435\u0437\u043c. \u041c.: \u0438\u0437\u0434. \u041c\u0413\u0423, 1948. 4.\t \u0421\u0430\u0434\u043e\u043a\u043e\u0432 \u041b.\u0420. \u0414\u0440\u0435\u0432\u043d\u0435\u0445\u043e\u0440\u0435\u0437\u043c\u0438\u0439\u0441\u043a\u0438\u0439 \u0438\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442\u0430\u043b\u044c\u043d\u044b\u0439 \u0430\u043d\u0441\u0430\u043c\u0431\u043b\u044c(\u043f\u043e \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u0430\u043c \u0440\u043e\u0441\u043f\u0438\u0441\u0435\u0439 \u0422\u043e\u043f\u0440\u0430\u043a-\u043a\u0430\u043b\u044b).\u0418\u0441\u0442\u043e\u0440\u0438\u044f, \u0430\u0440\u0445\u0435\u043e\u043b\u043e\u0433\u0438\u044f, \u044d\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u044f \u0421\u0440\u0435\u0434\u043d\u0435\u0439 \u0410\u0437\u0438\u0438. \u041c.: \u201c\u041d\u0430\u0443\u043a\u0430\u201d,1968. 5.\t Vamberi H. Buxoro yohud Movarounnahr tarixi. Toshkent. G\u2018afur G\u2018ulom nomidagi Adabiyot va san\u02bcat nashriyoti, 1990. 6.\t \u0413\u0435\u0440\u043e\u0434\u043e\u0442. \u0418\u0441\u0442\u043e\u0440\u0438\u044f. 1 \u0442\u043e\u043c, \u041c.: \u201c\u041d\u0430\u0443\u043a\u0430\u201d, 1972. 7.\t \u041c.\u0418. \u0421\u0442\u0435\u0431\u043b\u0438\u043d-\u041a\u0430\u043c\u0435\u043d\u0441\u043a\u0438\u0439. \u0410\u0432\u0435\u0441\u0442\u043e. \u041c.: \u201c\u041d\u0430\u0443\u043a\u0430\u201d, 1990. 8.\t Jo\u2018rayev N. Vaqt va fazo. T.: \u201cMa\u02bcnaviyat\u201d, 2020. 9.\t \u041e\u0434\u0443\u0435\u0432 \u0421.\u0422\u0440\u043e\u043f\u0430\u043c\u0438 \u0417\u0430\u0440\u0430\u0442\u0443\u0441\u0442\u0440\u044b. \u041c.: \u201c\u041d\u0430\u0443\u043a\u0430\u201d, 1980.","BOLALAR 69 \u211602 2022 NUTQINI RIVOJLANTIRISHDA Annotatsiya: Ushbu maqolada LOGORITMIKANING maktabgacha yoshdagi va ixtiso- VA slashtirilgan musiqa maktablaridagi XOREOGRAFIYA bolalar nutqidagi nuqsonlarni bar- SAN\u2019ATINING taraf etish uchun logoritmikadan foy- AHAMIYATI dalanish, uning ahamiyati, nutqdagi nuqsonlarni bartaraf etishda mu- Aziza Usmanova, siqa va harakatdan foydalanib, ularni Jizzax shahar 32-DMTT uyg\u2018unlashtirib ish olib borish to\u2018g\u2018risi- musiqa rahbari, da so\u2018z boradi. Normurodova Dilnoza Pardayevna Jizzax Kalit so\u2018zlar: nutq, nutqdagi shahar Ixtisoslashtirilgan nuqsonlar, logoped, logoritmika, mu- san\u2019at maktabi, Xalq siqa, mashg\u2018ulot, raqs, xoreografiya raqsi yo\u2018nalishi katta o\u2018qituvchisi A\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f: \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 \u0440\u0430\u0441\u0441\u043c\u043e\u0442\u0440\u0435\u043d\u043e \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u0435 \u043b\u043e\u0433\u0430- \u0440\u0438\u0444\u043c\u0438\u043a\u0438 \u0434\u043b\u044f \u0443\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u044f \u0434\u0435\u0444\u0435\u043a\u0442\u043e\u0432 \u0440\u0435\u0447\u0438 \u0443 \u0434\u0435\u0442\u0435\u0439 \u0434\u043e\u0448\u043a\u043e\u043b\u044c\u043d\u043e\u0433\u043e \u0432\u043e\u0437\u0440\u0430\u0441\u0442\u0430 \u0438 \u0441\u043f\u0435\u0446\u0438\u0430\u043b\u0438\u0437\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u044b\u0445 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c- \u043d\u044b\u0445 \u0448\u043a\u043e\u043b \u0438 \u0435\u0435 \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u0435 \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u0443\u044f \u043c\u0443\u0437\u044b\u043a\u0443 \u0438 \u0434\u0432\u0438\u0436\u0435\u043d\u0438\u0435 \u0434\u043b\u044f \u0443\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u044f \u0434\u0435\u0444\u0435\u043a\u0442\u043e\u0432 \u0440\u0435\u0447\u0438. \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430: \u0440\u0435\u0447\u044c, \u0434\u0435\u0444\u0435\u043a- \u0442\u044b \u0440\u0435\u0447\u0438, \u043b\u043e\u0433\u043e\u043f\u0435\u0434, \u043b\u043e\u0433\u0430\u0440\u0438\u0444\u043c\u0438\u043a\u0430, \u043c\u0443\u0437\u044b\u043a\u0430, \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u0435, \u0442\u0430\u043d\u0435\u0446, \u0445\u043e\u0440\u0435\u043e\u0433\u0440\u0430- \u0444\u0438\u044f. Annotation: In this article, the use of logarithmics to eliminate speech defects in children of preschool age and specialized music schools, and its importance. It is said to work by using music and movement to eliminate speech defects. Key words: speech, speech de- fects, speech therapist, logarithmics, music, training, dance, choreography Bolalarning nutqi kattalar nutqi aso- sida rivojlanib boradi. Nutqning to\u2018g\u2018ri shakllanishi atrofdagilar nutqiga nutqiy tajribaga, to\u2018g\u2018ri nutq muhiti va ta\u2019lim- tarbiyaga bog\u2018liq. Nutq tug\u2018ma qobili- yat emas, balki u hayot davomida bola- ning jismoniy va aqliy rivojlanishi bilan mutanosib ravishda shakllanib bora- di. Nutqning buzilishlarini tushunish, o\u2018rganish uchun bola nutqining to\u2018g\u2018ri rivojlanish yo\u2018lini, bu jarayonning o\u2018zi-","70 ga xos xususiyatlarini, nutqning mu- Hamkorlik ishlaridan biri esa logorit- vaffaqiyatli shakllanishida katta rol o\u2018ynovchi sharoitni bilishi lozim. mika mashg\u2018ulotlari hisoblanadi. Nutq va uning rivojlanishi ta- Logopedik ritmika \u2013 logoped faoli- fakkurning rivojlanishi bilan uzviy bog\u2018liqdir. Nutq buzilishlari haqidagi yatining tashkiliy qismlarining biridir. maxsus ta\u2019lim va ta\u2019rbiya vositasida nutq buzilishlarini o\u2018rganish, tuzatish \u201cLogoritmika\u201d so\u2018zi ikkita so\u2018zdan kelib va oldini olish haqidagi pedagogik fan \u2013 bu logopediya fanidir. Logo- chiqqan bo\u2018lib, \u201clogos\u201d grekcha -so\u2018z, pediya nutq faoliyati buzilishning sabablari, mexanizmlari, alomatlari, nutq, ritmika italyancha \u2013 aniqligini oqimlari tarkibini o\u2018rganadi. hosil qiluvchi mashqlar tizimi ma\u2019no- \u201cLogopediya\u201d termini grekcha lo- gos ( so\u2018z, nutq), peydeo (tarbiyalay- larini anglatadi. Demak, logoritmika man, o\u2018qitaman) so\u2018zlaridan tashkil topgan bo\u2018lib, tarjimada to\u2018g\u2018ri \u201cnutqni \u2013 bu nutq va harakatning mutanosib- tarbiyalash\u201d ma\u2019nosini anglatadi. Lo- gopediyani o\u2018rganish obyekti \u2013 nutq ligini hosil qiluvchi mashqlar tizim- nuqsoniga ega bo\u2018lgan shaxs. Adabiy tilda qabul qilingan nutq normasidan idir. bir oz bo\u2018lsa ham chetga chiqish \u2013 bu nutq nuqsoni deb hisoblanadi. Logo- Logoritmika \u2013 bu logopedik pedik ta\u2019sir etish bu nutqning rivojla- nishi uchun sezuvchanlik qobiliyatini nuqsonlarni musiqa ostida nutq va rivojlantirish, uni harakatga keltiru- vchi nutqqa ta\u2019sir etuvchi kuch, ya\u2019ni harakat uyg\u2018unligi yordamida bar- tafakkur, diqqat, xotira kabi barcha psixik jarayonlardir. taraf etish mashg\u2018ulotidir. Logopedik jarayonni tashkil etish Maktabgacha ta\u2019lim tashkilotlari- nutq buzilishini to\u2018g\u2018rilash bilan bir qatorda psixofizik nutqlarni ham tu- da logoritmikani qo\u2018llash muamolari gatish yoki yengillashtirish uchun sharoit yaratadi. U pedagogik ta\u2019sir bilan V.A. Gilyarovskiy, Y.A. Florenska- qilishning muhim maqsadi bo\u2018lgan shaxsni har tomonlama kamol topti- ya, V.A. Griner, G.A. Volkova kabi rish imkonini beradi. ko\u2018pgina olimlar shug\u2018ullanganlar Bolada nutqning to\u2018g\u2018ri rivojla- nishiga, unga doimo yangi tushun- va bu masalaning nazariy, uslubiy va chalarni o\u2018zlashtirib olishiga, tevarak \u2013 atrof haqidagi bilim va tasavvurini amaliy tamoyillarini tadqiqot qilgan- kengaytirishga imkoniyat yaratadi. Bola nutqining rivojlanish jarayoni o\u2018z lar. vaqtida to\u2018g\u2018ri kechishi uchun max- sus sharoitlar zarur. Logoped, tarbiya- Logopedlarning leksik mavzular- chi, shifokor, musiqa rahbari, jismoniy tarbiya yo\u2018riqchisi va psixolog ham- iga binoan logoritmik mashg\u2018ulot- korligidagina bolaning nutq rivojlan- ish jarayoni to\u2018g\u2018ri kechishi mumkin. lar tizimini ishlab chiqishga harakat qilindi. Mashg\u2018ulotlarni ishlab chiq- ishda bolalarda o\u2018z-o\u2018zini tashkil- lashtirish, nutqini faollashtirish va odobini bosqichma- bosqich kamol toptirish inobatga olindi. Logoritmika mashg\u2018uloti hafta davomida nutqni rivojlantirish, tovush madaniyati, lo- gopedik mashg\u2018ulotlarga yakun yas- aydi. Maxsus guruhlarda o\u2018tkaziladi- gan logoritmik mashg\u2018ulotlar ijobiy natija beradi: ko\u2018p bolalarda nutq nuqsonlarni to\u2018g\u2018rilanib, salbiy odatlar tuzatiladi. Logoritmika vositalari: -\t turli yo\u2018nalishlarda saf tortib yurish; -\t Artikulatsiya, ovoz, nafasni rivo- jlantiruvchi mashqlar; -\tMushak tonusini sozlovchi mashqlar; -\t Diqqatni rivojlantiruvchi mashqlar:","71 \u211602 2022 a)\tharakatning almashinuv jburiy hisoblanadi. Tizimlilik uzluksiz- likda, muntazamlikda, turlicha nutqiy mashqlari; buzilishlarda (harakatlanish doirasi, mimikaviy muskullari, nozik ixtiyoriy b)\tdiqqatni turg\u2018unlashtiruvchi lotorika, eshitish diqqati, nutqiy es- hitish qobiliyati, nutqning qoldiqlari mashqlar; komponentlari va h. k) u yoki bu funk- siyalarni tarbiyalash va qayta tarbi- c)\t diqqatni taqsimlash; yalash, rivojlanish uchun ma\u2019lum bir korreksion jarayonning rejalashtiril- d)\t eshitish va nutq diqqatini rivo- ganligida o\u2018z aksini topadi. jlantiruvchi mashqlar; O\u2018z xarakteri bo\u2018yicha logoritmik mashqlar (ertalabki harakatli nafas -\t musiqa tempi va tezligini, sez- ovozli zaryadka, relaksiyaga mashqlar, unli tovushlar va qisqa qo\u2018shiqlarni gi, ish ko\u2018nikmalarini rivojlantirish kuylash, harakat va nutq ritmining uyg\u2018unligiga mashqlar va h.k.) bolalar mashqlari (musiqa rahbari tanloviga va kattalarni belgilangan avaylay- digan-sog\u2018lomlashtiruvchi tartibga ko\u2018ra); o\u2018rgatadi. Muntazam ravishda olib borilgan logoritmik mashg\u2018ulotlar -\tnutqiy mashqlar (musiqa ta\u2019siri ostida organizmda va psixomo- torikada turli tizimlarning ijobiy qayta qo\u2018llanilmagan holda); qurilishi sodir bo\u2018ladi, masalan, yurak- qon tomir, nafas olish, harakatlanish, -\t ritmik mashqlar; nutqiy harakatlanish, sensor va bosh- qalar. -\t qo\u2018shiq ijrochiligi; Logoritmik korreksiya ishlab -\t cholg\u2018u asboblarini mashq qil- chiqilgan harakatlanish malakalarini takrorlash orqaligina sog\u2018lom harakat- ish; lanishning dinamik stereotiplari yuzaga keladi. Samarali takrorlash -\t o\u2018yin faoliyati; uchun o\u2018zlashtirilganlarni takrorlash jarayoni variativ xarakter olishi, mash- -\t so\u2018z harakat birligini (koordi- qlarni bajarish shartlarini, usullarning turli-tumanligi, mashg\u2018ulotlarning natsiya) rivojlantiruvchi mashqlar; mazmunidagi farqlarni o\u2018zgartirish uchun yangilari bilan uyg\u2018unlashti- -\t mayda qo\u2018l motorikasini rivo- rish zarur. Mashqlarning variativligi mo\u2018ljalli-tadqiqot refleksini, qiziqish, jlantiruvchi mashqlar; hissiyotini o\u2018yg\u2018otadi, e\u2019tiborni oshira- di. Ishlab chiqilgan dinamik stereoti- -\t nutqiy va mimik harakatlarni pga yangi qo\u2018zg\u2018atuvchilarni kiritish asta-sekinlikka amal qilish sharti bi- rivojlantiruvchi mashqlar; lan, shiddatli o\u2018zgarishlarsiz amalga oshirilishi darkor. -\t ijodiy tashabbus va guruhli his- Onglilik va faollik tamoyillari siyotni rivojlantiruvchi mashqlar; - Nutqiy buzilishi bo\u2018lgan shaxslarni logoritmik tarbiya va qayta tarbiya -\t yakuniy mashqlar va relaksat- siya. Logoritmikaning tamoyillari Logoritmika pand-nasihat va o\u2018zi- ga xos tamoyillarga quriladi. Ular o\u2018za- ro bog\u2018langan va tarbiya, rivojlanish va nutqida buzilishi bo\u2018lgan odamlarn- ing funksional tizimi korreksiyasining yagonaligini belgilaydi. Umumdidaktik tamoyillar - Tizimlilik tamoyili logoritmikaning butun kursi to\u2018plamini, nazariy ho- latlar va ularning amaliy ishlangan- ligini ketma-ket bayon etishni shart qilib qo\u2018yadi, kurs mavzularini yor- itish va uning ichidagi manbalarni taqsimlashni belgilaydi. Bu tamoyil turli-tuman nutqiy nuqsoni bo\u2018lgan shaxslarga nisbatan foydalaniladi- gan tadbirlarning barcha logopedik va logoritmik majmuyi uchun ma-","72 jarayonida bolalarning, kattalarn- buzilishning ular shaxsiga tasiri va ing ( maktab yoshidan boshlab topshiriqning murakkablik darajasi duduqlanuvchi bolalarga nisbatan) bilan aniqlanadi. Tushunnarlilikning o\u2018z faoliyatiga ongli va faol munos- shartlaridan biri xarakatlanish, nutqiy abatiga tayanish muhim. Bolaning va musiqiy topshiriqlarning vorisligi mustaqil, faol harakati berilgan top- hisoblanadi. Bunga amaliy jihatdan shiriqning unda qiziqish uyg\u2018otishi- korrektsion kurs davomida material- ga, uning ongli idrokiga, maqsadni ni to\u2018g\u2018ri taqsimlash bilan erishiladi. tushunishi va bajarish qobiliyatiga Turlicha og\u2018zaki-musiqiy-xarakatlan- bog\u2018liqdir. Logoritmik mashg\u2018ulot- ish uyg\u2018unligini ketma-ket o\u2018zlashti- larda maktabgacha yoshdagi bo- rish va bemorlardagi qiyinchiliklarini lalarning faolligi pedagogning hissi- bartaraf etishda barcha harakatlanish yotchanligi, musiqaning obrazliligi, va nutqiy harakatlanish tizimini uy- turlicha o\u2018yinlar yoki o\u2018yin usullari va gunlashtirish va takomillashtirish qo- mashqlari bilan rag\u2018batlantiriladi. biliyatini rivojlantiradi. Bemor unga Maktab va undan katta yoshda esa, bog\u2018liq vazifalarga kuchi yetsa, bu bundan tashqari, to\u2018g\u2018ridan-to\u2018g\u2018ri vazifalar organizmning funksional yo\u2018riqnoma (buyruq, musobaqa ele- imkoniyalaridan oshib ketmasa, ya\u2019ni mentlari, mukofotlash va x.k.) lardan yosh va individual xususiyatlriga mos foydalaniladi. kelsa, unda talabni kuchaytirish ijobiy natijalarga olib keladi. Aniqlik tamoyili insonni bevosita atrofdagi borliq bilan bog\u2018lab turuvchi Talabni asta-sekin oshirish barcha analizatorlar ko\u2018rsatkichining tamoyili - shug\u2018ullanuvchilar oldiga o\u2018zaro keng ta\u2019sirini shart qilib qo\u2018yadi. birmuncha murakkab bo\u2018lgan yan- Istalgan bilim hissi idrokdan boshla- gi topshiriqlar qo\u2018yishni belgilaydi: nadi. So\u2018z va musiqa bilan uyg\u2018unlikda harakatlanish, musiqiy, og\u2018zaki. Ular- harakatlarning shakllanishi, ularning ni bajarish jrayonida harakatlanish o\u2018zaro bog\u2018liqligini o\u2018rganish barcha malakasi va ko\u2018nilmasi kengayadi va ritseptorlar: ko\u2018rish, eshitish organlari boyiydi, ixtiyoriy va nutqiy motorika vestibulyar, proprioseptiv, harakatla- takomillashadi, nutq tempi va ohan- nish apparatlari va boshqalar ko\u2018rsat- gi berilgan musiqiy temp va ohang- kichi bilan amalga oshiriladi. Funk- ga muvofiq ravishda normallashadi. siyalarning buzilishida korrektsiya Yangi topshiriqqa o\u2018tish shakllanga maqsadida aniqlik tamoyili pedagok malakalarning mustaxkamlanishiga tomonidan harakatlarni ko\u2018rsatish ko\u2018ra asta-sekinlik bilan amalga os- yo\u2018li bilan amalga oshiriladi. hiriladi. Bola (kattalar) ning xarakatla- nish doirasida unga nutqiy faoliyatni Tushunarlilik va individua\u00ad ham boshqarishga yordamlashuvchi lizatsiya tamoyili - nutqida buzilishi moslashuvchan qayta ko\u2018rish ro\u2018y ber- bo\u2018lgan shaxslarning yosh xususiyat- ishi uchun muayyan vaqt talab qilina- lari va imkoniyatlarini hisobga olishni di. Barcha ko\u2018rib chiqilgan umumdi- ko\u2018zda tutadi. U kattalar va bolalarn- daktik tamoyillarni ularning o\u2018zaro ing fiziologik va bio mexanik jihat- aloqasi bo\u2018lgan sharoitdagina amalga dan turlicha rivojlanishlari, logoritmik oshirish mumkin. mashg\u2018ulotlar qurilishiga turlicha uslubiy yondoshuvlar, turlicha vo- O\u2018ziga xos tamoyillar - Rivojlan- sitalar, shakllar ta\u2019siri va h.k. tushu- ish tamoyili ko\u2018pgina parametrlarni narlilikning maqbul chorasi nutqiy inobatga olishni ko\u2018zda tutadi: nutqiy buzulishi bo\u2018lgan shaxslarning yosh buzilishi bo\u2018lgan va nutqiy jaray- va harakatlanish imkoniyatlari, nutqiy onlarning o\u2018zini; saqlangan funksion-","73 \u211602 2022 al tizimlar va nutqida buzilishi bo\u2018lgan faoliyatning asosiy turlari ( musiqani odamning organizmida, harakatla- tinglash, duduqnuvchilar bilan logo- nish doirasida va nutqida bo\u2018ladigan ritmik mashg\u2018ulotlarda psixotera- o\u2018zgarishlar. Rivojlanish tamoyili aqliy, piya seanslari vaqtida va logopedik ma\u2019naviy, estetik va sensor tarbiyan- mashg\u2018ulotlarda ular olgan ko\u2018rsat- ing xarakatlanish faoliyati jarayonida malarga tayanish yoki dizartriya bir vaqtning o\u2018zida amalga oshirilishi- bo\u2018lgan bolalarda dorilar terapiyasi ni shart qilib qo\u2018yadi. yoki fizioterapiyadan keyin me\u2019yorga yaqinlashuvchi muskullar tonusi ho- Har tomonlama ta\u2019sir tamoyili latidan foydalanish lozim. - butun organizmga ta\u2019sir ko\u2018rsa- tadi. Ritmik va logoritmik vositalar Bolalar hayotida ritmikaning organizmning umumiy malaka ho- ahamiyati sil qilishini ko\u2018taradi, organizmning funktsional tizimlararo yangi o\u2018zaro Musiqiy tarbiya musiqa asarlari munosabatni yaratgan holda asab re- bilan tanishishdan boshlanadi. Mu- flektorlari mexanizmini boshqarishni siqiy asarlarni tinglash jarayonida takomillashtiradi. bolalar turli xil tabiatdagi musiqani (kulgili, g\u2018amgin, sekin, tez va hoka- Etiopatogenetik tamoyil nutqiy zo) o\u2018rganadilar va nafaqat o\u2018rga- buzilishning patogenezi va sa- nadilar, balki turli xil asarlarning babiga bog\u2018liq ravishda logorit- o\u2018ziga xos xususiyatlarini (mualliflik mik mashg\u2018ulotlarning differensi- yoki xalq qo\u2018shig\u2018i raqs, polka, vals , yalangan qurilishini tushuntiradi. marsh va boshqalar) idrok etadilar va Duduqlanishda, dislaliya, dizartriya, o\u2018zlashtiradilar. Ammo bolalar faqat rinlaliya, afaziya va boshqa buzilish- qo\u2018shiq aytish yoki musiqa tinglash larda mashg\u2018ulotlar turlicha tuziladi. bilan cheklansa, musiqiy ta\u2019lim to\u2018liq Masalan, duduqlanishda logoritmik bo\u2018lmaydi. Musiqiy-pedagogik jaray- mashg\u2018ulotlar motor buzilishlarini onda raqs-ritmik harakatlar muhim korrektsiyalashga, diqqatni, tormoz o\u2018rin tutadi. Raqs-ritmik harakatlar qurilishlarini, ixtiyoriy axloqni, nutqiy bolaning tevarak-atrofdagi voqelikni va umumiy motorikaaro aloqani, idrok etishiga xizmat qiladi va shu duduqlanuvchining nutqiga tegishli bilan birga musiqiy obrazlarni, mu- maxsus vositalar ta\u2019sirini tarbiyalash- siqa asarlarining tabiatini ifodalash ga yunaltirilgan; rinolaliyada esa esh- vositasidir. Taniqli musiqa o\u2018qitu- itish diqqatini, og\u2018iz va burun nafas ol- vchisi A.D. Artobolevskaya o\u2018zining ishni differentsiyalash, burunlashishni \u201cMusiqa bilan birinchi uchrashuv\u201d ki- olib tashlash va h,k.larni tarbiyalashga tobida bolalarning musiqiy qobiliyat- alohida e\u2019tibor qaratiladi. lari, birinchi navbatda, musiqa bilan harakat qilish orqali namoyon bo\u2018ladi Simptomatikani hisobga olish va rivojlanadi, deb ta\u2019kidlaydi. Bundan tamoyili - nutqiy patologiyasi bo\u2018lgan tashqari, maktabgacha yoshdagi bo- odamlarning jismoniy imkoniyatlari- lalik davrida bola jadal o\u2018sadi va rivo- ni, duduqligi, alalya, paralich va parezi jlanadi, harakatlar uning ehtiyojiga (yoki boshqa asabiy simptomatikasi) aylanadi, shuning uchun bu yoshda bo\u2018lgan shaxslarda harakatdagi chek- jismoniy tarbiya ayniqsa muhimdir. lanishi qisman yoki o\u2018rtaha darajada Musiqiy va ritmik harakatlar esa hissiy namoyon bo\u2018lgan bolalarning dar- va ijodiy rivojlanish va jismoniy rivojla- monsizlanishini aniqlaydi. nishni birlashtiradi. Boshqacha ayt- ganda, raqs san\u2019ati insonning estetik Komplekslilik tamoyili - lo- gopedik ritmikaning tibbiy-psix- ologik-pedagogik ta\u2019siri va musiqiy","74 va jismoniy rivojlanishining sintezidir. da yaxshi rivojlanadi. Har qanday Turli raqs-ritmik harakatlarni bajarish harakat turi musiqiy asarning sur\u2019ati tayanch-harakat tizimini mustahka- va ritmi ostida bajariladi, harakat bi- mlaydi, harakatlarni muvofiqlashtir- lan bog\u2018liq bo\u2018lgan musiqiy ohanglar ish va kosmosda orientatsiyani rivo- bola xotirasida turg\u2018un saqlanadi; jlantiradi. Shunday qilib, raqs-ritmik harakatlarni rivojlantirish mavzusi -\t Raqs va musiqiy harakatlar maktabgacha pedagogik jarayonda bolada harakatchanlik, chaqqonlikni dolzarbdir. rivojlantirib, qomatning tog\u2018ri o\u2018sishi- ga va badanni chiniqishga katta yor- Ritmik harakatlar bajarish mak- dam beradi; tabgacha yoshdagi bolalar hayotida muhim ahamiyat kasb etadi. Peda- -\t Musiqiy asarlar bolalarga turli- gogik nazariya va amaliyotining hozir- cha emotsional hislar uyg\u2018otib, turli- gi bosqichida ijodiy shaxsni rivojlant- cha kayfiyatlar hosil etib, ularning irishga alohida e\u2019tibor qaratilmoqda. ongida o\u2018ziga xos obrazlar yaratadiki, Aynan mana shu sifat inson tomoni- bolalar asar mazmunini turli harakat- dan yaratilgan dunyoga, tabiiy dunyo lar va ishoralar bilan ifodalashga va insoniy munosabatlarga g\u2018ayriod- harakat qiladilar. diy munosabatni shakllantiradi. Ijod- korlik bu voqealikni bilishga, yangi, Demak, musiqaga mos harakat- o\u2018ziga xos, ilgari bo\u2018lmagan ob\u2019ektlar- lar o\u2018quvchilarning aqliy va nafosat ni yaratishga, jamiyatning moddiy qobiliyati rivojlantirish bilan birgalaik- va ma\u2019naviy hayotini yaxshilashga da irodasini ham rivojlantiradi. qaratilgan ongli, maqsadli, faol in- son faoliyati. Ijodkorlik har bir bolaga Musiqiy asarlardan marsh, raqs xosdir, lekin uning namoyon bo\u2018lishi va o\u2018yinlar o\u2018quvchilarga tez ta\u2019sir uchun zarur shart sharoitlarni o\u2018z va- etadi, shuning uchun ham quv- qtida yaratish qanchalik muhim. noq raqs, qiziqarli musiqali o\u2018yinlar har bir bolaning e\u2019tiborini o\u2018ziga Bolaning ijod doirasining keng tortadi. Ritmika bolalarda musiqiy doirasi bor. Bu bolaning tasavvuri- harakatlarni, estetik tarbiyani os- ni faollashtiradi, mustaqil qo\u2018yilgan hirishda katta ro\u2018l o\u2018ynaydi. Bolalar ilk maqsadga erishishni rag\u2018batlantiradi, yoshdan boshlab sakraydi, o\u2018ynaydi, o\u2018z g\u2018oyalarini turli shakllarda amalga lekin bu bolaning ritmik harakatlan- oshirishini izlaydi va o\u2018rganishga yor- di, degani emas. Bu davrda bolalar dam beradi. musiqa ostida emotsional harakatla- nadi, eshitish qobiliyati o\u2018sadi. Musiqa Musiqiy o\u2018yin va mashg\u2018ulotlar ostida harakatlanib, tarbiyachilar bi- bolalarning uch yoshdan yetti yosh- lan birgalikda kichik-kichik qo\u2018shiqlar gacha tavsiya etiladi. Ritmik harakat- ham kuylanadi. Harakat turlari uchga lar bolalar bog\u2018chasida boshlang\u2018ich bo\u2018linadi. guruhlarda va musiqa maktablari- da, uy sharoitida yanada chuqurroq 1. Asosiy harakatlar: yurish, yugur- o\u2018rganilishi mumkin. ish, sakrash. 2. Gimnastik harakat- lar: predmetlar bilan, ya\u2019ni lenta, Bolalarning aqliy, nafosat va jis- obruch, bayroqchalar va koptok bilan. moniy rivojida raqs, musiqali o\u2018yinlar 3.Raqs harakatlari: musiqa ostida rit- va musiqaga mos harakatlar bajarish mik harakatlar haqida nazariy bilim- quyidagi vazifalardan iborat: ga ega bo\u2018lish mumkin. Maktabda va bog\u2018chada o\u2018tkaziladigan har bir -\tBolalarning musiqiy o\u2018quvi, ertalikni, turli tadbirlarni musiqasiz ayniqsa xotirasi, ritm tuyg\u2018usi mu- tasavvur etib bo\u2018lmaydi. Jumladan, siqaga mos harakatlar yordami- musiqali ritmik harakatlarning ham","75 \u211602 2022 o\u2018z o\u2018rni bor. Bunda bola ritmni his rayonida gohida siz o\u2018zingiz bilmagan qiladi, qomatlari chiroyli bo\u2018lib, to\u2018g\u2018ri holda bolaning qobiliyatlarini payqay yurushni, musiqa ostida harakat boshlaysiz. Hattoki u siz o\u2018rgatayot- qilishni o\u2018rganib boradilar. Hozirgi gan harakatlarga yanada o\u2018zidan milliy qadriyatlarimiz, urf-odatlarimiz, qo\u2018shimchalar qo\u2018shishi mumkin. Bu o\u2018zbekchiligimiz o\u2018z o\u2018rnini topayot- esa umumiy kompozitsiyani boyitish- gan bir vaqtda bolalarga o\u2018zbek milliy ga xizmat qiladi. musiqasi, qo\u2018shiqlari, ritm harakatlar- ini o\u2018rganish juda muhimdir.\t Musiqiy-ritmik harakatlar bolan- ing fiziologik va ruhiy rivojlanishiga Musiqiy- ritmik harakatlar va raqs qay darajada hissa qo\u2018shishini yuqori- orqali bola musiqani his qilishi hamda da ko\u2018rib chiqdik. Ammo mana shu uni obrazli tushunishi mumkin. Tavsi- raqs harakatlar aslida nimaga aso- ya etiladigan musiqa orqali bolalarn- slanishini, uning manbalarini nima ing ruhiy holatini hamda atroflicha ekanligini bilib olish fursati yetdi. Har o\u2018rganish mumkin. Izlanishlar shuni qanday musiqa ham albatta chiroyli ko\u2018rsatadiki, bolalarga tavsiya etiladi- harakatlar bilan yaxlitlik kasb etadi. gan obrazli harakatli o\u2018yinlar, obraz- Shunchaki musiqa insonni zeriktiri- sizlaridan ancha samaraliroq. Shun- shi mumkin. Unga hamohang g\u2018o\u2018zal ingdek, musiqiy-ritmik harakatlarni, xiromlarlarni tomosha qilish esa es- raqslar o\u2018zlashtirish davomida bola tetik zavq bag\u2018ishlaydi. Shunday mu- milliy musiqa sadolarini ham ajratish- siqalar va ularga monand raqslar ni, ularni farqlay olishni o\u2018rganadi. bo\u2018ladiki, ularni bir-biridan ayro tasav- Bolaga beriladigan musiqali raqs vur etib bo\u2018lmaydi. Musiqiy-ritmik harakatlarni amalga oshirish jaray- harakatlarni amalga oshirayotganda onida bola uni idrok qiladi, tushu- bolalarning uni o\u2018zlashtirish poten- nadi hamda musiqa va unga mos siali bevosita musiqaning ruhiyatiga raqs harakatlarini amalga oshiradi. ham bog\u2018liq. Bir oz sokinroq, mahzu- Bu orqali ularda musiqani tushunish nroq musiqaga bolalar harakatlarni ko\u2018nikmalarini shakllantirish mum- amalga oshirishga qiynaladi. Chun- kin. Qachonki bola musiqani tushun- ki bolaning tabiatidagi quvnoqlik- sagina unga mos raqs harakatlarini bunga xalaqit beradi. So\u2018x, quvnoq amalga oshira oladi. musiqaga raqsga tushishga bola qi- ynalmaydi. Aksincha, yana o\u2018zidan Bola amalga oshirayotgan har nimalarnidir qo\u2018shimcha qilishi ham bir ritmik harakatni to\u2018g\u2018ri idrok qila mumkin. Shunindek, musiqiy-ritmik olishi bu muhim jihatlardan biridir. harakatlarni o\u2018zlashtirishda bolalar Aytish kerakki, ritmik harakatlarning qo\u2018shimcha mayda detallarga ham noo\u2018rin qo\u2018llanishi ham salbiy omil- ehtiyoj sezishi tabiiy. Musiqaga mos larga olib kelishi mumkin. Bolaga holda bolaning qo\u2018liga shiqildoq, doi- raqs harakatlarni tushuntirish asno- ra yoki boshqa bir kichikroq shak- sida uning hislarini ham tarbiyalash ldagi predmetlarni berish kerak. Bu- bevosita muhim jihat sanaladi. Agar lar ritmik harakatlarning musiqaga ularda his-tuyg\u2018ular ishlamas ekan, hamohangligini yanada kuchaytiradi. siz sahnalashtirgan musiqani tus- Kerak bo\u2018lsa, raqs harakatlariga jilo hunmasdan, ko\u2018r-ko\u2018rona amalga baxsh etadi. oshiradi. To\u2018g\u2018rirog\u2018i musiqa rahbari ko\u2018rsatgan narsadan nariga o\u2018tmay- Albatta, raqs harakatlari bilan di. Shu sabab eng avvalo bolada his bajarilgan mashqlar bolalarni har qilish tuyg\u2018usini shakllantirish shart. tomonlama, ham jismoniy, ham ru- Bolaga raqs harakatlarini o\u2018rgatish ja- han tarbiya qiladi. Jismoniy degan-","76 da bolaning soglom o\u2018sishi, tanasi gopedla bir-birlarini to\u2018ldirib boladagi to\u2018g\u2018ri rivojlanishi tushunilsa, ruhan nuqsonlarni logoritmika orqali kor- deganda esa bolalarning kayfiyati reksiyalashda unimli foydalangan bilan bog\u2018liqdir. Chunki kayfiyati a\u2019lo bo\u2018lishar edi. bo\u2018lgan bola jon dili bilan vazifalarni Tajribamizdan kelib chiqib, shuni bajaradi. Ruhiy tushkunlikka tush- aytish mumkinki, nuqtida nuqsoni maydi. bor bolalar bilan raqs harakatlari Bolalarni nuqsonini erta yosh- orqali ravon so\u2018zlashni yo\u2018lga qo\u2018yish dan bartaraf qilish lozim, toki bolalar maqsadida logoritmikani xoreografi- o\u2018zlariga bo\u2018lgan ishonchlarini os- ya raqs turi bilan hamohang olib bor- hirish xoreografiya harakatlari orqali dik. Raqs jarayonida o\u2018quvchilarga ritmik mashqlar bilan nutqilari us- xar hil ertaklarni so\u2018zlashni, raqs orqa- tida ishlashni yolga qoyish lozim. li harakatlarda ifodalashni o\u2018rgatib Oila bilan hamkorlikda xoreografik bordik. Sog\u2018lomlashtirish gimnastika harakatlarni o\u2018rgatish orqali yana- orqali so\u2018zlarni talaffuz qilishni tajrib- da yaxshiroq natijaga erishamiz. Na- ada sinab ko\u2018rdik. Raqs harakatlari, faqat mashg\u2018ulotlar jarayonida balki qo\u2018shiqlar orqali bolalar nutqidagi bu harakatlarni ota-onalarga o\u2018rgat- nuqsonlarini bartaraf etish mumkin- ib uyga ham bolalar bilan birgalikda ligini amalda ko\u2018rdik. bajarish orqali nuqsonlarni bartaraf Nutqida nuqsoni bor bolalarga etishda yaxshiroq va mashg\u2018ulot o\u2018tish ja- tezroq natijaga ega MUSIQIY O\u2018YIN rayonida raqs orqal bo\u2018lamiz. Bunda biz ifaoliyat olib borish nuqsonlarni bar- VA MASHG\u2018U- logoped bolalarda taraf etibgina qol- LOTLAR yaxshi natija berdi. may, ota-ona va bola BOLALARNING Har bir harakat rit- o\u2018rtasidagi munosa- UCH YOSHDAN mi bosh miyadan batni yaqinlashishi- YETTI YOSHGACHA keluvchi tonuslarni ga yordam bergan TAVSIYA ETILADI. organizmga to\u2018g\u2018ri bo\u2018lar edik.. Bolalar va teng taqsimlash- musiqa va sa\u2019nat ga yordam berdi. maktablarida, ixtiso- Raqsga tushish ja- slashtirilgan sa\u2019nat rayonida bola har bir maktablarida logo- harakatni so\u2018z orqali ritmikani orgatishni ifodalab, diqqat, xoti- yolga qo\u2018yish lozim. ra va nutqni rivojlan- Raqs ohanglariga uygunlashtirilgan tirib bordi. Duduqlanuvchi bolada ritmik harakatlar barmoqlarning raqsning ahamiyati juda katta. ishlashi qarsaklar, chop qo\u2018shiqlar, Logonevroz bolalarning til mu- likopchalar, tayoqchalar, stakancha- skullarining inervatsiyasidagi kuchli lar yordamidayam musiqa ohangini tonusni tananing boshqa organlar- yaratib qo\u2018shiq kuylashga orgatish- iga yo\u2018naltiradi va bolaning tilidagi ham mumkin. Logoritmikani or- tortishish kamayib bola duduqlan- gatishni yo\u2018lga qo\u2018yishda bogcha may to\u2018g\u2018ri gapira oladi. Nutq marka- yoshidagi bolalardan boshlash lozim. zlari Broka va Vernika markazlarining Amalda ishlangan materiallarni xo- faoliyatini raqs, musiqa va ritmika reograflar bilan logoped oqituvchi- orqali korreksiyalashda yaxshi nati- lari hamkorlikda ishlasalar maqsadga jalar oldik. Eshitish qobiliyati sust muofiq bolar edi. Xoreograflar va lo- o\u2018quvchilarga ritmni oyoq orqali his","77 \u211602 2022 9986 etishni o\u2018rgata olganimizdek, nutqi- nuqsonlar kamayganini tajriba ko\u2018za- da nuqsoni bor bolalarni logoritmi- tib bordik. Shuning uchun ham ho- ka orqali ya\u2019ni ritmik harakatlar bi- zirda shifokorlar yurishida nuqsoni lan so\u2018zlarni ravon so\u2018zlash, nutqlari bor bolalarni raqs, gimnastika bilan ravoFnObYoD\u2018lAisLhAigNaILeGrAishNdAikD. ASBanIY\u2019aOtnTiLnAgR shug\u2018ullanishlarini tavsiya etishmoq- xoreografiya turi bilan shug\u2018ullangan da. Logoped pedagoglar ham nutqi- nuq1s.onAizbizoorvbOo.lTaillasrhnui nbouslnikukqaskoinridshan. \u2012 Todsahnkeunqts:oFnainb, 1o9r9b6o. lalar bilan musiqa juda2.teBzesgomga\u2018atyoivbEk. eHtoiszhirggainoi\u2018zcbheektaedlabiyo\u2018tqiliitnuivncghlielakrsiikshqlaatslhamlarliaryi.a\u2013xsThosi hnkaetnijta: pFaend,a1g9o8g5.lari tajribalaridan o\u2018rgan- berishini ta\u2019kidlashmoqda. gan3m. izN. uSrmhuonninovgA.bTialannlanbgiargnaaliskadralar. 1-jildS. h\u2013Tu.:nAinkgaduecmhunnashhra,m201m2.aktabga- sog\u20184lo. mSlaaisdhxtoinrisohv Mgi.mAnloaqsati-kaarsailaosrhquavli va cimhaoy-iosshhodraalgair.b\u2013oTl.a: lFaardna, 2n0b0o8s.hlab mu- yuris5h. idSaafanruoqvsSoHn.i Pbroargbmoalalilnagrnviishtiakma. - Tosisqhakemnat:kOta\u2018zbblaerkidisatohnaMmillloiygeonristimkliokpaen-i ydaiysasisoi,y2o0q0la8r.i, umurtqa qiyshayish, yo\u2018lga qo\u2018yish yaxshi natija beradi. qo\u2018l 6p. a\u0421y\u0435la\u0440ri\u043bni \u0414to\u0436\u2018li.\u0420q. oc\u041ah\u043bi\u0430lm\u0441\u0441a\u0438s\u0444lig\u0438i\u043a\u0430k\u0446a\u0438b\u044fi \u0438\u043b\u043b\u043e\u043a\u0443\u0442\u0438\u0432\u043d\u044b\u0445 \u0430\u043a\u0442\u043e\u0432 \/\/ \u041d\u043e\u0432\u043e\u0435 \u0432 \u0437\u0430\u0440\u0443\u0431\u0435\u0436\u043d\u043e\u0439 \u043b\u0438\u043d\u0433\u0432\u0438\u0441\u0442\u0438\u043a\u0435. \u0412\u044b\u043f. 17: \u0422\u0435\u043e\u0440\u0438\u044f \u0440\u0435\u0447\u0435\u0432\u044b\u0445 \u0430\u043a\u0442\u043e\u0432. \u2013 \u041c., 1986. 7. \u041e\u0441\u0442\u0438\u043d \u0414\u0436.\u041b. \u0421\u043b\u043e\u0432\u043e \u043a\u0430\u043a \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u0435 \/\/ \u041d\u043e\u0432\u043e\u0435 \u0432 \u0437\u0430\u0440\u0443\u0431\u0435\u0436\u043d\u043e\u0439 \u043b\u0438\u043d\u0433\u0432\u0438\u0441\u0442\u0438\u043a\u0435. \u0412\u044b\u043fF.o17y:d\u0422a\u0435l\u043ea\u0440n\u0438ilg\u044fa\u0440n\u0435\u0447a\u0435d\u0432a\u044bb\u0445iy\u0430o\u043at\u0442l\u043ea\u0432r:. \u2013 \u041c., 1986. 8. Hakimov M. O\u2018zbek tilida matnning pragmatik talqini: Filol. fan. dokt. ... diss1..\t\u2013 TJousmhkaennotv,a20D1.1N. , Prusakova Yu. N. Quvnoq logoritmika. - T. : Lider Press, 20099.. Qurbonova M. Bolalarga xos nutqiy akt turlarining pragmalingivistik tahl2il.i\t \/\/MXoo\u2018mrijiiynfoivloaloLg.Riy. aL.o\u2013gSoapmedairyqaa. nT.d2,0200416. . 4-son. 310.\t. \u0412E\u043erk\u043bi\u043an\u043eA\u0432\u0430\u2019za\u0413.m\u0410.. \u041bP\u043ea\u0433k\u043ea\u043fn\u0435a\u0434n\u0438in\u0447g\u0435\u0441o\u043as\u0430h\u044fiq\u0440k\u0438o\u0442\u2018\u043cn\u0438g\u043ali.\u0430K. \u041cin.o\u041fq\u0440is\u043esa\u0441.\u0432\u2013\u0435T\u0449.,\u04352\u043d0\u04380\u04351., 1985. 411..\t PEor\u2018klaintoAv\u2019azaXm.M. .ALnoogyoinpinedgikjaryidtmariikoal.m20a1s1i.. 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Annotatsiya. Bugungi kunda xo- reografiya bolalar va kattalar rivojla- nishida dolzarb yo\u2019nalishlardan biri hisoblanadi. Xoreografiya darslari na- faqat turli janrlardagi raqslarni ijro etishning badiiy ko\u2019nikmalarini, balki yoshlarning go\u2019zallik qonunlariga mu- vofiq odatlarni ham rivojlantiradi va tarbiyalaydi. Maqolada yosh avlodning rivojlanishi jarayonida xoreografiya san\u2019atining estetik qiymati va o\u2019zgaru- vchanligi masalasi ko\u2019rib chiqiladi. Kalit so`zlar: xoreografiya san\u2019ati, estetik ta\u2019lim, intizom, yoshlar. Abstract. Currently, choreogra- phy is the most popular direction in the development of children and adults. Choreography classes edu- cate and develop not only the artistic skills of performing dances of different genres, but also the development of habits and norms of behavior among young people in accordance with the comprehended laws of beauty. The article discusses the nature of the aes- thetic value of choreographic art and variability in the development of the younger generation. 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\u0441\u0430\u043c\u043e\u0441\u0442\u043e\u044f- \u0441\u0432\u043e\u0438\u0445 \u0443\u0447\u0435\u043d\u0438\u043a\u043e\u0432 \u043a \u0441\u043e\u0432\u0435\u0440\u0448\u0435\u043d\u0441\u0442\u0432\u043e\u0432\u0430- \u0442\u0435\u043b\u044c\u043d\u043e \u043c\u044b\u0441\u043b\u044f\u0449\u0435\u0433\u043e, \u0438\u043d\u0438\u0446\u0438\u0430\u0442\u0438\u0432\u043d\u043e\u0433\u043e \u043d\u0438\u044e \u0438\u0441\u043f\u043e\u043b\u043d\u0438\u0442\u0435\u043b\u044c\u0441\u043a\u043e\u0433\u043e \u043c\u0430\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u0430 \u043f\u043e\u043a\u043e\u043b\u0435\u043d\u0438\u044f. \u0422\u0430\u043a, \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0432\u043e\u0441- \u0438 \u0437\u0434\u043e\u0440\u043e\u0432\u043e\u043c\u0443 \u0434\u0443\u0445\u043e\u0432\u043d\u043e\u043c\u0443 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u044e. \u043f\u0438\u0442\u0430\u043d\u0438\u0435 \u0441\u043f\u043e\u0441\u043e\u0431\u0441\u0442\u0432\u0443\u0435\u0442 \u0444\u043e\u0440\u043c\u0438\u0440\u043e\u0432\u0430- \u043d\u0438\u044e \u0441\u043f\u0435\u0446\u0438\u0430\u043b\u0438\u0441\u0442\u043e\u0432, \u043e\u0442\u0432\u0435\u0442\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u0422\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u0430\u044f \u043b\u0438\u0447\u043d\u043e\u0441\u0442\u044c \u2013 \u0432\u0430\u0436- \u0437\u0430 \u0431\u0443\u0434\u0443\u0449\u0435\u0435 \u0441\u0442\u0440\u0430\u043d\u044b \u0432 \u0432\u043e\u043f\u0440\u043e\u0441\u0430\u0445 \u0440\u0435- \u043d\u0435\u0439\u0448\u0430\u044f \u0446\u0435\u043b\u044c \u043a\u0430\u043a \u0432\u0441\u0435\u0433\u043e \u043f\u0440\u043e\u0446\u0435\u0441\u0441\u0430 \u0430\u043b\u0438\u0437\u0430\u0446\u0438\u0438 \u0435\u0435 \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0438 \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u044f, \u0442\u0430\u043a \u0438 \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0432\u043e\u0441- \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u043f\u043e\u0442\u0435\u043d\u0446\u0438\u0430\u043b\u0430. \u043f\u0438\u0442\u0430\u043d\u0438\u044f. \u0411\u0435\u0437 \u043d\u0435\u0433\u043e, \u0431\u0435\u0437 \u0444\u043e\u0440\u043c\u0438\u0440\u043e\u0432\u0430- \u0421\u041f\u0418\u0421\u041e\u041a \u0418\u0421\u041f\u041e\u041b\u042c\u0417\u041e\u0412\u0410\u041d\u041d\u041e\u0419 \u041b\u0418\u0422\u0415\u0420\u0410\u0422\u0423\u0420\u042b [1] \u041f\u0443\u043b\u044f\u0435\u0432\u0430 \u041b.\u0415. \u041d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0430\u0441\u043f\u0435\u043a\u0442\u044b \u043c\u0435\u0442\u043e\u0434\u0438\u043a\u0438 \u0440\u0430\u0431\u043e\u0442\u044b \u0441 \u0434\u0435\u0442\u044c\u043c\u0438 \u0432 \u0445\u043e- \u0440\u0435\u043e\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u043e\u043c \u043a\u043e\u043b\u043b\u0435\u043a\u0442\u0438\u0432\u0435: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0422\u0413\u0423 \u0438\u043c. \u0413.\u0420. \u0414\u0435\u0440\u0436\u0430\u0432\u0438\u043d\u0430, 2001\u0433. [2] \u0423\u0444\u0438\u043c\u0446\u0435\u0432\u0430 \u0422.\u0418. \u0412\u043e\u0441\u043f\u0438\u0442\u0430\u043d\u0438\u0435 \u0440\u0435\u0431\u0435\u043d\u043a\u0430 \u2013 \u041c.: \u041d\u0430\u0443\u043a\u0430. 2000\u0433. [3] \u041c\u0430\u0442\u044e\u0448\u043a\u0438\u043d\u0430 \u0410.\u041c. \u0420\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u043e\u0439 \u0430\u043a\u0442\u0438\u0432\u043d\u043e\u0441\u0442\u0438 \u0448\u043a\u043e\u043b\u044c\u043d\u0438\u043a\u043e\u0432 \u2013 \u041c.: \u041f\u0435\u0434\u0430\u0433\u043e\u0433\u0438\u043a\u0430. 1991\u0433. [4] \u0410\u0432\u0434\u0435\u0435\u0432\u0430 \u041b. \u0422\u0430\u043d\u0446\u0435\u0432\u0430\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0423\u0437\u0431\u0435\u043a\u0438\u0441\u0442\u0430\u043d\u0430: \u0413\u043e\u0441. \u0418\u0437\u0434. \u0425\u0443\u0434. \u041b\u0438- \u0442\u0435\u0440. \u0422\u0430\u0448\u043a\u0435\u043d\u0442 - 1960\u0433. [5] https:\/\/biography.wikiareding.ru\/253925 [6] \u0420\u0443\u0431\u0438\u043d\u0448\u0442\u0435\u0439\u043d \u0421.\u041b. \u041e\u0441\u043d\u043e\u0432\u044b \u043e\u0431\u0449\u0435\u0439 \u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0438 \u2013 \u041c.: \u0423\u0447\u043f\u0435\u0434\u0433\u0438\u0437, 1946\u0433.","84 Annotatsiya: Ushbu maqo- la mavzusining dolzarbligi, inklyuziv IMKONIYATI ta\u02bclim sohasidagi musiqiy pedagogik CHEKLANGAN nazariya va amaliyotda musiqa tera- BOLALAR piyani qo\u2018llash orqali ijobiy o\u2018zgarishlar BILAN ISH OLIB bilan bog\u2018liq bo\u2018lib, u sifatli ta\u02bclim va im- BORISHDA koniyati cheklangan bolalarni reabili- MUSIQA tatsiya qilish bo\u2018yicha ta\u02bclim dasturla- TERAPIYASIDAN rini moslashtirishga qaratilgan e\u02bctibor FOYDALANISH bilan boyitiladi. Musiqa terapiyasining asosiy maqsadi - rivojlanishida mua- Oydin Alimbekova,, mmosi bo\u2018lgan bolalarda o\u2018zligini if- O\u2018zbekiston davlat san\u02bcat odalash, o\u2018zini namoyon qilish qobiliya- va madaniyat instituti tini rivojlantirish, ijtimoiy moslashuvida dotsenti v.b yordam berish va jamiyatda o\u2018z o\u2018rnini topishga, to\u2018liq hayotga tayyorlanish- ga yordam berish. Maqolada musiqiy mashg\u2018ulotlarning imkoniyati chek- langan bolalarni davolashdagi o\u2018rni xaqida fikr yuritiladi. Musiqa bolaga terapevtik ta\u02bcsir ko\u2018rsatishda, hissiy stressni bartaraf etishda, umuman ruhiy holatni tartibga solishda, shax- sning hissiy-intellektual rivojlanishini, uning irodaviy ko\u2018rinishlarini uyg\u2018un- lashtirishda katta imkoniyatlarga eganligi umumiy tahlil qilinadi. Kalit so\u2018zlar: musiqiy terapiya, nuqson, reabilitatsiya, qo\u2018shiq, raqs, musiqa, faoliyat, mashg\u2018ulot, ta\u02bclim, rivojlanish. Abstract: The relevance of the topic of this article is associated with positive changes in the field of intellectual pedagogical theory and practice through the use of music therapy, which is enriched by a focus on quality education and adaptation of educational programs for the rehabilitation children with disabilities. The main goal of music therapy in children with developmental problems is to express themselves, develop the ability to manifest, help with social adaptation and find their place in society, prepare for a fulfilling life. The article discusses the role of musical activity in the treatment of children with disabilities. The fact that music","85 \u211602 2022 has great potential in providing Inklyuziv ta\u02bclim - bu bolalarning a therapeutic effect on the child, individual xususiyatlarini, rivojlan- eliminating emotional stress, ish darajasi va ehtiyojlarini inobatga general regulation of the mental olgan holda bolaga eng mos tarz- state, harmonizing the emotional da tashkil etilgan ta\u02bclimdir. Inklyuziv and intellectual development of a ta\u02bclimning vazifalaridan biri-o\u2018quvchi- person, his wayward appearance. larga bilim olish, hayotiy maqsadlar- ni belgilash va ularga erishishda o\u2018z Key Words: Music therapy, imkoniyatlarini maksimal darajada defects, rehabilitation, singing, oshirish imkonini beradigan do\u2018sto- dance, music, activity, training, na va qulay muhitni yaratishdir. education, development. \u201cInklyuziya - ta\u02bclimni tashkil etish \u0410\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f: \u0410\u043a\u0442\u0443\u0430\u043b\u043d\u043e\u0441\u0442 \u0442\u0435\u043c\u0438 tamoyili sifatida ijtimoiy-pedagogik \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u0438 \u0441\u0432\u044f\u0437\u0430\u043d\u0430 \u0441 \u043f\u043e\u043b\u043e\u0436\u0438- xususiyatga ega bo\u2018lgan xodisadir. \u0442\u0435\u043b\u043d\u0438\u043c\u0438 \u0438\u0437\u043c\u0435\u043d\u0435\u043d\u0438\u044f\u043c\u0438 \u0432 \u043e\u0431\u043b\u0430- Shunga ko\u2018ra, inklyuziya bolani indi- \u0441\u0442\u0438 \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u043d\u043e\u0439 \u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0438- vidual tarzda tarbiyalash yoki o\u2018zgar- \u0447\u0435\u0441\u043a\u043e\u0439 \u0442\u0435\u043e\u0440\u0438\u0438 \u0438 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438 \u0447\u0435\u0440\u0435\u0437 tirishga emas, balki o\u2018quv jarayoni va \u0438\u0441\u043f\u043e\u043b\u0437\u043e\u0432\u0430\u043d\u0438\u0435 \u043c\u0443\u0437\u0438\u043a\u043e\u0442\u0435\u0440\u0430\u043f\u0438\u0438, ijtimoiy muhitni bolaning imkoni- \u043a\u043e\u0442\u043e\u0440\u0430\u044f \u043e\u0431\u043e\u0433\u0430\u0449\u0430\u0435\u0442\u0441\u044f \u043e\u0440\u0438\u0435\u043d\u0442\u0430\u0442- yatlariga moslashtirishga qaratilgan \u0441\u0438\u0435\u0439 \u043d\u0430 \u043a\u0430\u0447\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435 \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430- bo\u2018ladi\u201d [4, 6-b.]. \u043d\u0438\u0435 \u0438 \u0430\u0434\u0430\u043f\u0442\u0430\u0446\u0438\u044e \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u0442\u0435\u043b- \u043d\u0438\u0445 \u043f\u0440\u043e\u0433\u0440\u0430\u043c\u043c \u0440\u0435\u0430\u0431\u0438\u043b\u0438\u0442\u0430\u0446\u0438\u0438 Inklyuziv ta\u02bclim tizimida musiqa \u0434\u0435\u0442\u0435\u0439 \u0441 \u043e\u0433\u0440\u0430\u043d\u0438\u0447\u0435\u043d\u043d\u0438\u043c\u0438 \u0432\u043e\u0437\u043c\u043e\u0436- muhim o\u2018rin tutadi. Musiqa bolan- \u043d\u043e\u0441\u0442\u044f\u043c\u0438 \u0437\u0434\u043e\u0440\u043e\u0432\u044f. \u041e\u0441\u043d\u043e\u0432\u043d\u0430\u044f \u0441\u0435\u043b ing diqqat, xotira, tafakkur, tasavvur, \u043c\u0443\u0437\u0438\u043a\u043e\u0442\u0435\u0440\u0430\u043f\u0438\u0438 \u0443 \u0434\u0435\u0442\u0435\u0439 \u0441 \u043f\u0440\u043e- idrok va h.k. kabi aqliy jarayonlarini \u0431\u043b\u0435\u043c\u0430\u043c\u0438 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u044f - \u043f\u0440\u043e\u044f\u0432\u0438\u0442 rivojlantirish vositasidir. U ijobiy hissiy \u0441\u0435\u0431\u044f, \u0440\u0430\u0437\u0432\u0438\u0442 \u0441\u043f\u043e\u0441\u043e\u0431\u043d\u043e\u0441\u0442 \u043a \u043f\u0440\u043e- kayfiyatni yaratish va saqlash uchun \u044f\u0432\u043b\u0435\u043d\u0438\u044e, \u043f\u043e\u043c\u043e\u0447 \u0441 \u0441\u043e\u0446\u0438\u0430\u043b\u043d\u043e\u0439 ishlatilishi kerak. U bolaning ichki \u0430\u0434\u0430\u043f\u0442\u0430\u0446\u0438\u0435\u0439 \u0438 \u043d\u0430\u0439\u0442\u0438 \u0441\u0432\u043e\u0435 \u043c\u0435\u0441\u0442\u043e dunyosiga, umuman shaxs sifatida \u0432 \u043e\u0431\u0449\u0435\u0441\u0442\u0432\u0435, \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u0438\u0442\u0441\u044f \u043a \u043f\u043e\u043b- shakllanishiga ta\u02bcsir qiladi, musiqa \u043d\u043e\u0446\u0435\u043d\u043d\u043e\u0439 \u0436\u0438\u0437\u043d\u0438. \u0412 \u0441\u0442\u0430\u0442\u044c\u0435 \u0440\u0430\u0441- orqali axloqiy va estetik qadriyat- \u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u0440\u043e\u043b \u043c\u0443\u0437\u0438\u043a\u0430\u043b\u043d\u043e\u0439 lar ham shakllanadi, bolada tabiat- \u0434\u0435\u044f\u0442\u0435\u043b\u043d\u043e\u0441\u0442\u0438 \u0432 \u043b\u0435\u0447\u0435\u043d\u0438\u0438 \u0434\u0435\u0442\u0435\u0439 \u0441 ga, insonga, predmetlarga nisbatan \u043e\u0433\u0440\u0430\u043d\u0438\u0447\u0435\u043d\u043d\u0438\u043c\u0438 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u044f- hamdardlik, mehr-oqibat, ehtirom, \u043c\u0438 \u0437\u0434\u043e\u0440\u043e\u0432\u044f. \u041e \u0442\u043e\u043c, \u0447\u0442\u043e \u043c\u0443\u0437\u0438\u043a\u0430 oliyjanoblik hislari paydo bo\u2018ladi. \u0438\u043c\u0435\u0435\u0442 \u0431\u043e\u043b\u0448\u0438\u0435 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u0438 \u0432 \u043e\u043a\u0430\u0437\u0430\u043d\u0438\u0438 \u0442\u0435\u0440\u0430\u043f\u0435\u0432\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e Musiqa orqali o\u2018rganilgan in- \u0432\u043e\u0437\u0434\u0435\u0439\u0441\u0442\u0432\u0438\u044f \u043d\u0430 \u0440\u0435\u0431\u0451\u043d\u043a\u0430, \u0443\u0441\u0442\u0440\u0430- sonparvarlik qadriyatlari bolaning \u043d\u0435\u043d\u0438\u0438 \u044d\u043c\u043e\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u043e\u0433\u043e \u0441\u0442\u0440\u0435\u0441\u0441\u0430, his-tuyg\u2018ularini faollashtiradi, go\u2018zal \u043e\u0431\u0449\u0435\u043c \u0440\u0435\u0433\u0443\u043b\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u0438 \u043f\u0441\u0438\u0445\u0438- va xunukni, yaxshi va yomonni, sevgi \u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0441\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u044f, \u0433\u0430\u0440\u043c\u043e\u043d\u0438\u0437\u0430\u0442- va nafratni farqlashni o\u2018rgatadi. \u0441\u0438\u0438 \u044d\u043c\u043e\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u043e\u0433\u043e \u0438 \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a- \u0442\u0443\u0430\u043b\u043d\u043e\u0433\u043e \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u044f \u0447\u0435\u043b\u043e\u0432\u0435\u043a\u0430, \u0435\u0433\u043e Zamonaviy maxsus psixoterapi- \u0441\u0432\u043e\u0435\u043d\u0440\u0430\u0432\u043d\u043e\u0433\u043e \u0432\u043d\u0435\u0448\u043d\u0435\u0433\u043e \u0432\u0438\u0434\u0430. ya va pedagogika asosan musiqiy terapiyadan bolaning madaniy rivo- \u041a\u043b\u044e\u0447\u0435\u0432\u0438\u0435 \u0441\u043b\u043e\u0432\u0430: \u041c\u0443\u0437\u0438\u043a\u043e\u0442\u0435- jlanishi muammolari bilan barka- \u0440\u0430\u043f\u0438\u044f, \u0434\u0435\u0444\u0435\u043a\u0442\u0438, \u0440\u0435\u0430\u0431\u0438\u043b\u0438\u0442\u0430\u0446\u0438\u044f, mol shaxsni tarbiyalashning muhim \u043f\u0435\u043d\u0438\u0435, \u0442\u0430\u043d\u0435\u0441, \u043c\u0443\u0437\u0438\u043a\u0430, \u0434\u0435\u044f\u0442\u0435\u043b- vositasi sifatida tuzatish ishlarida \u043d\u043e\u0441\u0442, \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u0435, \u0432\u043e\u0441\u043f\u0438\u0442\u0430\u043d\u0438\u0435, \u0440\u0430\u0437- foydalanishga qaratilgan. Bu yerda \u0432\u0438\u0442\u0438\u0435. musiqa terapiyasi \u201cmaxsus\u201d ehtiyojli,","86 imkoniyati cheklangan bolalarning - somatik va ruhiy kasalliklardan ta\u02bclim jarayonining tarkibiy qismlar- aziyat chekayotgan bolalar va kat- idan biri sifatida yordamga keladi. talarni davolash, reabilitatsiya qilish, \u201cO\u2018zini ijodiy namoyon qilish terapi- ta\u02bclim va tarbiya berishda musiqa- yasi\u201d klinik va psixoterapevtik usuli dan nazorat ostida foydalanish; muallifi, psixiatr M.E.Burno \u201cMusiqa bemorlarga ruhiy kasalliklardan ha- - fiziologik va psixik nuqson yoki los bo\u2018lishga yordam beradi, turli xil kasalliklarni xususiyatlarini davolash- psixopatik kasalliklarining patologi- da musiqadan tizimli foydalanish; yasini sezilarli darajada yengillashti- radi, deb hisoblaydi [3, s.25]. - ijodiy kuch va pedagogik tarbiya faoliyatni optimallashtirish vositasi. Musiqa terapiyasi davolashning eng qadimiy yordamchi turlari- Umuman musiqa terapiyasi dan biridir. Musiqa inson tanasiga zamonaviy ijtimoiy hayotning qi- shifobaxsh ta\u02bcsir ko\u2018rsatishi va shun- yin sharoitlarida har qanday inson- ing uchun turli kasalliklarni davolash- ning shaxsiy rivojlanish jarayonini da qo\u2018llanilganligi anchadan beri e\u02bcti- optimallashtirishga qodir. Boshqa borga olingan. Qadim zamonlardan ko\u2018plab ta\u02bcsir usullaridan farqli beri inson yomg\u2018ir tovushida, okean to\u2018lqinlarining avj olishida, qushlarn- o\u2018laroq, musiqa terapiyasi meto- ing qo\u2018shiq kuylashida eshitiladigan dining maxsus qiymati shundaki, tabiat musiqasini takrorlashga in- musiqa darslari deyarli har doim tilgan. Musiqa cholg\u2018ularining ixtiro ijobiy his-tuyg\u2018ular manbai bo\u2018lib xi- qilinishi esa insoniyatga o\u2018zining zmat qiladi. Bu esa bolaning darslar- ichki holati, kayfiyati, his-tuyg\u2018ulari ga bo\u2018lgan qiziqishiga va kattalar va his-tuyg\u2018ulari bilan tovushlar yor- bilan o\u2018zaro aloqada bo\u2018lish istagiga damida ifoda etish imkoniyatini ber- sabab bo\u2018ladi. di. Turli xil musiqalar yordamida in- son, ko\u2018pincha buni anglamasdan, Musiqiy faoliyat, musiqa san\u02bcatida to\u2018plangan tanglikni, ortiqcha ish- amaliy ko\u2018nikmalarni shakllantirib, lashni, charchoqni bartaraf qilishi bir vaqtning o\u2018zida bolaning atrof- mumkin. Ammo musiqa inson ruhi- muhit bilan aloqa qilishida madani- yati va sog\u2018lig\u2018ining turli sohalariga yat tashuvchisi sifatida yordam bera- ham yana-da foydali ta\u02bcsir ko\u2018rsatishi di va uning hayotida nafaqat ijtimoiy, mumkin [5, 6-b.]. balki estetik, badiiy va semiotik funk- siyalarni ham bajaradi. \u201cMusiqa terapiyasi\u201d atamasi grek-lotin tilidan kelib chiqqan bo\u2018lib, Imkoniyati cheklangan bolalarn- \u201cmusiqa bilan davolash\u201d degan ing rivojlanishi bu jarayonni tashkil ma\u02bcnoni anglatadi. Musiqa terapiya- etishda ijtimoiy shakl, usul va vosi- si tushunchasining ko\u2018plab atama- talarni tanlashni talab etadi. Shu- lari mavjud. Ko\u2018pchilik olimlar mu- lardan biri musiqadir. Ibn Sino ta- siqa terapiyasini psixoterapiyaning bobatda musiqadan foydalanishga yordamchi vositasi, murakkab tera- doir qarashlarini \u201cTib qonunlari\u201d, \u201cKi- pevtik usullarni qo\u2018llash uchun be- tob ash-shifo\u201d kabi asalarida ilgari morlarni maxsus tayyorlash vositasi surgan. Jumladan: \u201cbolani mijozini deb hisoblashadi. Boshqalar musiqa kuchaytirmoq uchun ikki narsani terapiyasini quyidagicha belgilaydi: qo\u2018llamoq kerak. Biri bolani ohista te- bratish, ikkinchisi, uni uxlatish uchun aytish odat bo\u2018lib qolgan musiqa va allalashdir. Shu ikkisiga qarab bola- ning tanasi bilan badan tarbiyaga,","87 \u211602 2022 ruhi bilan musiqaga bo\u2018lgan iste\u02bcdodi hitishning shakllanishiga, nafas olish, hosil qilinadi - deydi\u201d [6,75-b.]. ritmik his qilish, ovoz va idrok, diqqat, Nogironligi bo\u2018lgan bolalar- da musiqani idrok qilishi, musiqa xotira kabi aqliy jarayonlarning rivo- haqidagi tasavvuri normal holatda rivojlanayotgan bolalardan farq qila- jlanishiga hissa qo\u2018shadigan tuzatish di. Bunday bolalarda musiqaga mu- nosabat turlicha bo\u2018ladi. Aqlan zaif vositasi sifatida ishlatiladi. Bola ja- bolalarni musiqa ko\u2018pincha siqiqlik- dan olib chiqadi, ba\u02bczi juda hayajonli moada qo\u2018shiq kuylar ekan, o\u2018zining bolalarga, musiqa, ayniqsa, pianino tinchlantiruvchi ta\u02bcsir ko\u2018rsatadi. U in- individual xususiyatlarini ko\u2018rsatadi, son ruhiyatining eng chuqur yashirin joylarigacha kirib boradi, musaffo, o\u2018z harakatlarini umumiy vazifalarga olijanob tuyg\u2018ularni uyg\u2018otadi. bo\u2018ysundirishni o\u2018rganadi. Musiqa darslarining asosiy turi musiqa tinglashdir, chunki bu bo- Shu bilan birga musiqa darslar- lalar bilan musiqani idrok qilish va ularning xilma-xilligi, xarakterini ining asosiy vazifalarini quyidagicha tinglash qobiliyatining shakllanishi va rivojlanishi bo\u2018yicha ishlashning belgilash mumkin: eng samarali shaklidir. Bolalar o\u2018z his-tuyg\u2018ularini musiqa orqali ifoda- \u00b7 rivojlanishida muammolari lashni o\u2018rganadilar. Sog\u2018lig\u2018i bilan bog\u2018liq muammolarga ega bo\u2018lgan bo\u2018lgan bolalarni musiqiy madaniyat bolalar bilan musiqiy darslarni o\u2018tka- zishning mazmuni, tashkil etilishi va asoslari bilan tanishtirish, ularning metodikasi, bir tomondan, musiqa san\u02bcatining o\u2018ziga xos xususiyatlari, hissiy-estetik qiziqishlari, ehtiyojlari- ikkinchi tomondan, bolaning rivojla- nishida to\u2018siqlar mohiyati bilan belgi- ni shakllantirish; lanadi. \u00b7 bolalarda musiqiy qobiliyatlarni Faoliyatning yana bir muhim turi qo\u2018shiq kuylashdir. Qo\u2018shiq kuylash \u2013 shakllantirish; bu bolalarda diqqatni shakllantirish, xotira, shaxsiy fazilatlarni rivojlantir- \u00b7 bolaning rivojlanishidagi ish, mas\u02bculiyat hissi, hatti harakatida mustaqillikka erishish, nutq, artikuly- nuqsonlarni musiqa, musiqiy faol- atsiya apparati, nafas olish, eshitish- ning rivojlanishi bilan bog\u2018liq bo\u2018lgan lik yordami bilan tuzatishga hissa turli nuqsonlarini to\u2018g\u2018rilash vositasi desak adashmaymiz. Ayniqsa emot- qo\u2018shish; sional sezuvchanlik, musiqiy eshitish qobiliyati rivojlanadi, ovoz apparati \u00b7 bolalarda musiqiy faoliyatning mustahkamlanadi. turlari to\u2018g\u2018risidagi tushunchalarni Qo\u2018shiq nutqida nuqsoni bo\u2018lgan bolalarda past-baland pardalarni es- shakllantirish va bu faoliyatdan foy- dalanish mumkin bo\u2018lgan usullarini ishlab chiqish; \u00b7 musiqaning turli yo\u2018nalishlari, uning xususiyatlari haqidagi mavjud bilimlarni shakllantirish; \u00b7 bolalarning mustaqil va ijodiy faolligi uchun imkoniyatlar, ijobiy hissiy fon yaratish orqali bolalarga quvonch bag\u2018ishlash; \u00b7 bolalarning mashg\u2018ulotlarda faol muloqotda bo\u2018lishiga, ijtimoiy moslashishiga ko\u2018maklashish. Bolaga musiqadan maqsad- li ta\u02bclim berish shart emas va shun- ing uchun bola musiqiy faoliyatning ko\u2018nikma va mahoratlarini o\u2018zlasht- irishi shart emas. Korreksion, re- abilitatsiya darslarining maqsadi va mazmuni bolalarning jismoniy, aqliy imkoniyatlari asosida shakllantirilishi kerak.","88 Turli toifadagi bolalar uchun mu- chi munosabatlarida o\u2018zaro ishonch siqa terapiya mashg\u2018ulotlarining ma- bo\u2018lishi, boshqalar tomonidan hech qsadi, vazifasi, tuzilishi va mazmuni- qanday shartlarsiz qabul qilinishi ni aniqlash kerak. mumkin bo\u2018lgan muhit yaratilishi Guruhli musiqa darslarida op- lozim. timal natijalariga erishish uchun Imkoniyati cheklangan bo- psixofiziologik yuklamani bir xil taq- lalar bilan ishlash uchun pedagog simlash va quyidagi sxema bo\u2018yicha ma\u02bclum ko\u2018nikmalarga ega bo\u2018lish amalga oshirish tavsiya etiladi: kerak. Bu psixologik qulay muhitni 1.Salomlashish. yaratish qobiliyati bo\u2018lib, yuz ifoda- 2.Ritmik harakatlar orqali tanani lari, nigoh, tabassum, ehtiyotkor xat- qizdirish mashqlari. ti-xarakat, mehribonlik, ifodali nutq 3.Barmoqlarning ma\u02bclum va eng muhimi - ijobiy munosabat- harakatlarini rivojlantirish uchun dir. Ana shunday muhit bola uchun mashqlar, nutq va yuz BOLALAR reabilitatsiya davrin- harakatlarini rivojlant- O\u2018Z HIS- ing ijobiy dinamikasi- irish uchun mashqlar. TUYG\u2018ULARINI ga erishish imkonini MUSIQA ORQALI beradi. 4.Qo\u2018shiq. 5.Musiqa tinglash Darslar davomida va bolalar musiqa bolalar asta-sekinlik cholg\u2018ularini chalish. bilan musiqa bilan 6. Raqslar, davra oddiy harakatlarni raqslari. IFODALASHNI mustaqil bajarishni 7. Rivojlantiruvchi O\u2018RGANADILAR. boshlaydilar. Ular key- inchalik eslab qolgan o\u2018yinlar. bir necha musiqa va 8. Xayrlashuv. Mashg\u2018ulotlarning qo\u2018shiqlar paydo bo\u2018la o\u2018ziga xos xususiyatlari quyidagicha: boshlaydi va ular tobora ko\u2018payib - mashg\u2018ulotlar haftasiga 2 mar- boradi. Bunday bolalar orasida mu- ta 30-40 daqiqadan bo\u2018lgani ma\u02bcqul; siqiy qobiliyatlilari ko\u2018p uchraydi va - zarur bo\u2018lganda, ota-onalar ular nafaqat musiqani passiv tin- (tarbiyachilar) harakat va tayanch glashga qodir bo\u2018lishadi, balki kuy- a\u02bczolari tizimida buzilishlari bo\u2018lgan, lash, raqsga tushish, cholg\u2018ularda oriyentatsiyada qiyinchiligi bo\u2018lgan chalishni ham o\u2018zlashtira olishadi. bolalarga harakat qilishda yordam Asosiysi, dars jarayonida ular berish, bola bilan birgalikda vazifani bir-birlari bilan va atrofdagi kattalar bajarish uchun \u2013 \u201cqo\u2018lini qo\u2018liga olib\u201d bilan o\u2018zaro ishonchli munosabatlar- musiqiy materiallarni o\u2018zlashtirish, ga kirisha boshlashadi. rivojlanish dinamikasini kuzatish Guruhli musiqa terapiyasi no- uchun yordam berish. gironligi bo\u2018lgan bolalarni reabili- - aynan bitta musiqiy material- tatsiya qilish jarayonida jismoniy va dan bir necha bor, takroran foydalan- aqliy nuqsonlarni to\u2018g\u2018rilash, musiqa ish, shunda bolalar individual temp- orqali dunyoni tanitish, emotsion- da uni o\u2018rganadilar va asta-sekin al ta\u02bcsir ko\u2018rsatish uchun ehtimoliy ishning bajarilishiga qo\u2018shila bosh- usullardan biri sifatida bolaga zaru- laydilar. rdir. Musiqa ijobiy hissiy kayfiyatni - dars jarayonida bola va o\u2018qituv- ta\u02bcminlaydi, ijobiy dunyoqarash va","89 \u211602 2022 munosabatlarning shakllanishiga lar olib borishmoqda. Chunki yosh olib keladi. Bu nafaqat har bir bola- bola idrokka ko\u2018proq moyil bo\u2018ladi. ning muvaffaqiyatli kelajagi uchun, Musiqadan oddiygina bahramand balki bundan ham ko\u2018proq nogiron bo\u2018lish mumkin, stressdan halos bolalar uchun katta ahamiyatga ega- bo\u2018lish, ishlashda samaradorlikni 9986 dir. Shuning uchun musiqa terapiya- oshirish, o\u2018qish uchun ijodiy qobili- si boshqa turdagi korreksion faoliyat yatlarni rivojlantirish, eng asosiysi jis- bilan birgalikda nogiron bolalarning moniy va aqliy imkoniyati cheklan- individual rivojlanish dasturiga kirit- gan bolalarni davolash mumkin. ilishFi OloYziDmA.LANILGAN ADABIYOTLAR Xulosa qilib aytganda inklyuziv Uzoq vaqtdan beri olimlar mu- ta\u02bclim tizimida musiqa terapiyasidan siqa1n. inAgzizionvsoOn. Tiltsahnuansoigsali,kkxauksiurissahn. ,\u2012 Tofosyhdkaelnatn: iFsahn,i1m99k6o.niyati cheklangan bola2g. aBetgam\u02bcsiaritovbEo.\u2018Hyiochziargi ota\u2018zdbqeikqaodt-abiybotilainlainrggaleskasmikaqratlilatma\u02bcsliarrki.o\u2013\u2018rTsoasthakdei.nt: Fan, 1985. 3. Nurmonov A. Tanlangan asarlar. 1-jild. \u2013T.: Akademnashr, 2012. F45.o. ySSdaaafidalarxonovnilSogHvan.MP.aradAgalombqiaayl-oiantrglaavlrai:ssthikuav. va imo-ishoralar. \u2013T.: Fan, 2008. - Toshkent: O\u2018zbekiston Milliy ensiklope- 5td\u0437i2\u0430ziy7\u0440ima01\u044367s.\u0431.-.iiOsn,\u0435o2\u041e\u0421i\u2018\u0436z0n\u0435t\u0441b\u043du0\u0440\u0442Ne\u043eb8\u0438\u043bko\u0439.d\u043digsa\u043b\u0414\u0414tinr\u0438o\u0436o\u0436n\u043dtn.a.\u041b\u0433\u0420lRk\u0432i..go\u0421e\u0438ims\u043b\u0441\u041abp\u0442\u043e\u043bio\u0438ul\u0432\u0430l\u2018\u043abal\u043e\u0441g\u0435sl\u0441\u043aiah.k\u0438\u0430\u0412nta\u043a\u0444i\u044bsrs\u0434\u0438iih\u043fs\u0435P\u043aha. \u0439\u0430r1xc7e\u0446\u0441sh:z\u0442l\u0438a\u0422\u0432iod\u044f\u0435r\u0438rne\u043ea\u0435in\u0440-\u0438d\/tt\/\u0438a\u043bia\u041dn\u044fd\u043bvi\u043e\u043elb\u0440na\u0432\u043ai\u0435gtr\u043e\u0443l\u0447ta\u0435\u0442Fo\u0435\u0438ra\u0432m\u0432i\u0432rt\u044b\u0437m\u043doo\u0430\u0445\u044b\u2018n\u0440go\u0430\u0445i\u0443\u2018nd\u043ar\u0431ii\u0442as,\u04350\u043e\u0430nid\u0436\u04321\u043a.qa1.\u0442\u043d2\u043e\u2013.o\u043e.\u04322\u2018\u041cl\u0439l0a.\u043b1,b\/71\/\u0438-9\u043dqy8\u041di\u0433u6l\u0432dv\u043e. \u0438av\u0432\u0441ag\u043e\u0442ti\u0435\u0438laP\u043asF\u0435h\u0432-. \u0412\u044b\u043f2.. 17O: \u2018\u0422z\u0435b\u043ee\u0440k\u0438is\u044fto\u0440n\u0435\u0447R\u0435e\u0432s\u044bp\u0445u\u0430b\u043ali\u0442k\u043ea\u0432s.i\u2013 P\u041cr.e, z19id8e6n. tining Farmoni,29.04.2019 yildagi PF-587. 12H-asokinmOo\u2018vzbMe.kOis\u2018tzobnekRteislipduabmlikaatnsinXinaglqptraa\u02bclgimmiattizikimtainlqii2n0i:3F0iloyli.lgfaanc.hdaorkivt.o..-. jdlaisnst.i\u2013riTshoskhoknesnetp, 2s0iy1a1.sini tasdiqlash to\u2018g\u2018risida. 39.. BuQrunrobMon.Yoev.a\u201cPMra. kBtoiclhaleasrkgoayexorsuknouvtoqdiystavkotptourtlearrainpiini gtvoprrcahgemskailmingsiavmistoik- vtairhaljielin\/\/iyXeomrij\u201di.yMfioloslkovgaiy, 2a0. \u20130S2a. marqand, 2016. 4-son. 410. .InEkrklyinuzAiv\u2019znaomye. Poabkraanzaonvainngiyoesh: [iqsbkoor\u2018nigkl]i. KVinpo. q1 i\/ssao.s\u2013t.TS., .2V0.0A1.l\u0450xina, N. Y. Sem11a. gEo,rAk.iKn.FAe\u2019zdaimna. \u2013AMnoyskinvian:gShjakyodlnaariyoalmknaisgia. K, 2in0o10q.issa. \u2013 T., 2001.","90 Annotatsiya: Mazkur maqolada O\u2018ZBEK o\u2018zbek bolalar folklor raqslarining BOLALAR FOLKLOR Rossiya Federatsiyasidagi targ\u2018iboti RAQSLARINING TARG\u2018IBOTI haqida so\u2018z yuritiladi. HAQIDA Kalit so\u2018zlar: folklor, milliy Beg\u2018am Qorayeva, Moskva davlat lingvistika madaniyat, urf \u2013 odat, qadriyat, an\u02bcana, universiteti dotsenti, pedagogika fanlari \u201cSonata\u201d, \u201cGuldasta\u201d, \u201cBoychechak\u201d, nomzodi \u201cFeyruz\u201d, mehmondo\u2018stlik, bag\u2018rikenglik. \u0410\u0431\u0441\u0442\u0440\u0430\u043a\u0442: \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 \u0440\u0430\u0441- \u0441\u043a\u0430\u0437\u044b\u0432\u0430\u0435\u0442\u0441\u044f \u043e \u043f\u043e\u043f\u0443\u043b\u044f\u0440\u0438\u0437\u0430\u0446\u0438\u0438 \u0443\u0437- \u0431\u0435\u043a\u0441\u043a\u0438\u0445 \u0434\u0435\u0442\u0441\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u0442\u0430\u043d\u0446\u0435\u0432 \u0432 \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u0439 \u0424\u0435\u0434\u0435\u0440\u0430\u0446\u0438\u0438. \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430: \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440, \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u044c\u043d\u0430\u044f \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430, \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u044f, \u0446\u0435\u043d\u043d\u043e\u0441\u0442\u044c, \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u044f, \u00ab\u0421\u043e\u043d\u0430\u0442\u0430\u00bb, \u00ab\u0413\u0443\u043b- \u0434\u0430\u0441\u0442\u0430\u00bb, \u00ab\u0411\u043e\u0439\u0447\u0435\u0447\u0430\u043a\u00bb, \u00ab\u0424\u0435\u0439\u0440\u0443\u0437\u00bb, \u0433\u043e\u0441\u0442\u0435- \u043f\u0440\u0438\u0438\u043c\u0441\u0442\u0432\u043e, \u0442\u043e\u043b\u0435\u0440\u0430\u043d\u0442\u043d\u043e\u0441\u0442\u044c. Abstract. This article tells about the popularization of Uzbek children\u2019s folk dances in the Russian Federation. Key words: folklore, national culture, tradition, value, tradition, \u201cSonata\u201d, \u201cGuldasta\u201d, \u201cBoychechak\u201d, \u201cFeyruz\u201d, hospitality, tolerance. Har bir folklor raqs zamirida yurt tar- ixi, urf \u2013 odatlari, rasm-rusumlari bilan uyg\u2018unlashgan falsafa va milliy madani- yat, qadriyatlar va an\u02bcanalar mujassam. Xususan, bolalar folklor raqslari o\u2018zi mansub bo\u2018lgan xalqning tarixini, ol- ijanob fazilatlarini ifodalaydi va targ\u2018ib qiladi. Azal-azaldan kishilik jamiyati yarat- gan eng ezgu an\u02bcanalar san\u02bcat orqali rivojlanadi. Milliy raqs \u2013 milliy san\u02bcat va makonni, do\u2018stlik rishtalarini bog\u2018lovchi komponentlardan biri hamda madaniy qadriyatlarni yangi avlodlarga yetkazish va saqlab qolish vositasidir. San\u02bcatning bu turi umumbashariy hodisa sifatida barcha xalqlarda o\u2018z aksini topgan, bir- oq, idrok va ifodaning o\u2018ziga xos xususi- yatlaridan kelib chiqib, turli usullar bilan namoyon qilinadi. Zero, \u201co\u2018zbek raqslari \u2013","91 \u211602 2022 mutlaqo o\u2018ziga xos, beqiyos, shuning ishida milliy raqs san\u02bcatining o\u2018rni uchun ham ularni hamma joyda shu va ahamiyati beqiyosdir. \u201cSonata\u201d, vaqtgacha ko\u2018rilmagan san\u02bcat sifatida, \u201cGuldasta\u201d , \u201cFeyruz\u201d raqs markazlari hamma joyda ham bir xil shavq, bir xil O\u2018zbekistonning Rossiyadagi elchixo- ishtiyoq bilan qabul qiladilar\u201d[2;47]. nasi tomonidan o\u2018tkaziladigan tadbir- larda, Navro\u2018z, Mustaqillik bayramlari- Rossiya Federatsiyasining poytax- da, oliy o\u2018quv yurtlarida o\u2018tkaziladigan ti \u2013 Moskva shahrida 50 dan ortiq ma\u02bcnaviy-ma\u02bcrifiy anjumanlarda faol o\u2018zbek milliy raqs markazlari bo\u2018lib, ishtirok etadi. 2022 yil may oyida \u201cGuldasta\u201d, \u201cSonata\u201d, \u201cFeyruz\u201d studi- Moskva davlat lingvistika universitet- yalari ularning peshqadamlari his- ida bo\u2018lib o\u2018tgan \u201cMirzo Boburning oblanadi. Studiyalarning asosiy maq- intellektual merosi\u201d mavzusidagi sadi, avvalo o\u2018zbek raqslarini targ\u2018ib Xalqaro ilmiy-amaliy konferensiyada qilish va ularni xohlovchilarga o\u2018rgat- \u201cGuldasta\u201dning raqqosa qizlari \u201cTano- ish, shaharda o\u2018tkaziladigan turli bay- var\u201d va \u201cLazgi\u201d raqslari bilan, \u201cBoy- ramlar, ijodiy kechalar va tanlovlarda chechak\u201d bolalar ansambli \u201cAndijon ishtirok etishdan iborat. Noyob ijodiy polkasi\u201d, \u201cSonata\u201d ansambli \u201cMajnun- guruhlardan biri \u201cGuldasta\u201d studiya- tol\u201d raqsi bilan turli mamlakatlardan si qoshida 2019 yilda \u201cBoychechak\u201d kelgan olimlar va tadqiqotchilarni bolalar raqs guruhi ish boshladi. Ular- hayratga soldilar. Ular o\u2018zlarini Rossi- ga xoreograf-pedagog N.Tyuleneva ya davlatidagi o\u2018zbek madaniyati va \u201cAndijon polkasi\u201d, \u201cYomg\u2018ir yog\u2018aloq\u201d, san\u02bcati targ\u2018ibotchilari deb bilishadi \u201cQarg\u2018alar\u201d kabi o\u2018zbek bolalar folklor va zimmalariga olgan mas\u02bculiyatlarini raqslarini o\u2018rgatib kelmoqda. Eng ki- sharaf bilan ado etmoqdalar. chik guruh 5 \u2013 6 yoshli bolalar bo\u2018lsa, 10 \u2013 12 yoshli o\u2018rta guruh va o\u2018smir- Moskvadagi o\u2018zbek raqs mar- lardan iborat guruhlari bor. 2022 yil- kazlarida milliy raqslarni o\u2018rgatish da ular Rossiya kuni festivalining tan- uslubi bo\u2018yicha o\u2018ziga xos bo\u2018lgan tanali ochilish marosimida hamda tajriba ham shakllangan. Pedagog \u201cMoskva oqshomlari\u201d Xalqaro musiqa \u2013 baletmeystrlar, o\u2018zbek bolalar folk- va raqs tanlovida o\u2018zlarining o\u2018zbek- lor raqslarini o\u2018rgatish bilan shug\u2018ul- cha raqslari bilan yig\u2018ilganlarni ma- lanayotgan mutaxassislar o\u2018zlarida ftun etdilar. mavjud bo\u2018lgan adabiyotlardan, in- ternet saytlaridagi darslardan foydal- Yosh avlodni milliy raqs vositasida anadilar. xalq madaniyati tarixi,qadimiy ildizlari bilan tanishtirib borish orqali ularn- Lekin bu qo\u2018llanmalar juda kam va ing estetik tarbiyasi va ma\u02bcnaviy yuk- borlari ham mukammal emas. Ayniq- salishiga poydevor yaratiladi. Raqs sa, o\u2018zbek bolalar folklor raqs termin- ta\u02bclimi jarayonida yoshlarda san\u02bcat lari lug\u2018atiga, uslubiy qo\u2018llanmalarga orqali hayotni o\u2018rganish va tushun- ehtiyoj juda katta. O\u2018zbek raqslarini ish, ularga ijodiy munosabatda bo\u2018lish o\u2018rganishni istaydigan san\u02bcatsevarlar malakasi rivojlantiriladi hamda ul- zamonaviylik bilan milliy ruh uyg\u2018un- arning ma\u02bcnaviy saviyasini va badiiy lashgan folklor raqslarini nihoyatda didini o\u2018stirishga e\u02bctibor qaratiladi. yaxshi ko\u2018rishadi. Zero, globallashuv davrida yoshlarni vatanparvarlik ruhida tarbiyalashda, San\u02bcatning boshqa turlari kabi xalqlar va mamlakatlar o\u2018rtasidagi bolalar folklor raqslari ham millatning hamkorlik va hamdo\u2018stlik kuchayib, o\u2018zligini, qadim o\u2018tmishini, orzu-umid- beqiyos rang - baranglik kasb etishi- larini aks ettiradi. Eng mashhur bola- da, uning yangi - yangi ufqlari ochil- lar raqs dastalari tomonidan ijro etilgan raqs namunalarining vid-","92 eo variantini yaratish va ko\u2018paytirish raqs o\u2018zi mansub xalqning milliy xus- eng dolzarb va muhim muammo- usiyatlarini aks ettiradi va xalq mu- lardan biri.Rossiya oliy o\u2018quv yurtlari siqasi hamda qo\u2018shiqlari bilan cham- talabalari va tadqiqotchilari orasida barchas bog\u2018liq bo\u2018ladi. Milliy raqs o\u2018zbek san\u02bcati va madaniyati tarixi bi- \u2013 xalq tomonidan yaratiladi va un- lan qiziquvchilar ko\u2018pchilikni tashkil ing madaniy taraqqiyotida muhim qiladi. Masalan, Moskva davlat ling- ahamiyat kasb etadi\u201d[2;7]. vistika universiteti qoshidagi \u201cO\u2018zbek O\u2018zbek bolalar folklor raqslarining madaniy-ma\u02bcrifiy, ijtimoiy hayotdagi, 9986 madaniyati markazi\u201d a\u02bczolari bo\u2018lmish mamlakatda ichki va tashqi turizmni talabalar kelajakda O\u2018zbekiston dav- lat xoreografiya akademiyasi bilan rivojlantirishda raqs san\u02bcatini yana-da ijodiy hamkorlik o\u2018rnatishni, \u201cMahorat keng targ\u2018ib qilish, bu borada xalqaro darsFlaOrYi\u201dDAuyLuAsNhItLirGisAhNniAoDrAzuBIYqOiliTshLAa-R miqyosda ilmiy tadqiqotlar olib bo- Fdqlkoaoiid.znriUklq3124T,a.i1l..atnr.a9iinrnarBSA8aNniniaq5zendiuii.ilgngidzio.romgmx\u2018rzvohubaonfaOseitnyoko.ksoovrTvaitvsicMnEilashA\u02bc.hnha.aH.tu\u02bcaA,aTsomnathl\u201cozkHnouidqorslangaraalirlonik-aaosigkrbjriio\u2018aazaivdrNbnlkaaie.imaAsrkijihsjus.oViaauhlddlordiv.aly--a\u2012avrba.Ti1oyrmmqi-misjsutihlaoihddloimkiny.r-ebia\u2013isinn\u2013Tzethig.tgqg:to:aAaiaFlryerakakobkelanasaisgdyt,ritakm.a1ea9\u2013vmqT9ieamya.6k\u02bc:n,ntFa.abalaaasnsav\u02bcmnuhlidiyg,lrili2,iayiy\u201320ar\u2013b0i0te.mi1\u2013z8ys2ntuaT..eoi\u02bckrntislifagkhiyykt,dzeaiiimn.j\u02bcsttiir--: 5. Safarov SH. Pragmalingvistika. - Toshkent: O\u2018zbekiston Milliy ensiklope- diyaFsoi, y2d0a0l8a.nilgan adabiyotlar: 6. \u0421\u0435\u0440\u043b \u0414\u0436.\u0420. \u041a\u043b\u0430\u0441\u0441\u0438\u0444\u0438\u043a\u0430\u0446\u0438\u044f \u0438\u043b\u043b\u043e\u043a\u0443\u0442\u0438\u0432\u043d\u044b\u0445 \u0430\u043a\u0442\u043e\u0432 \/\/ \u041d\u043e\u0432\u043e\u0435 \u0432 \u0412\u0437dt\u041fygma\u0430aia\u044b\u0435sh\u0440atzs\u0442\u043fnll\u044389171.24135.\u0435ia01l..i4\u0431.\u2013....i.\u0440..k1.yOOGL\/\u04357Taf\u0431\/\u041eHa.eEE:\u0436o\u2018.Q\u2018lAX\u0443zMzn\u0412i\u0422av\u0441rrsb\u043d\u0440bovu\u0435akkrkk\u0442\u043ehadare\u043e\u0433e\u0438\u043e-iirai\u043bktinn,mdblekkj\u0439\u0440dy\u043d,\u043ei\u0438eyyiaoo2AAr\u0438sxn\u0434o\u0437\u043b\u0414eln0qtfo\u2019\u2019a\u0434\u044frv\u044ctzz\u0438vio\u04362oiur,lraa\u043a.vao\u043dn\u201dM\u0440e02v.bomm\u0438.\u041btl\u041f\u0433o0a\u0435yoOajo.\u043dR\u0432lg..\u04471..\u043bgOyav\u0421M\u04381\u2018\u0430ePAz\u0435ry.\u0430nai\u2018\u043ba\u0441ysbzo\u0432an.\u043dtpaf\u0442S\u043ebe\u044brikBio\u0435\u0438r\u041d.luh\u0432yekaaiy\u0442\u0445\u2013o\u043asa\u043eb.k.n\u0430siTmh\u0410l\u0435n\u0430sShalo\u043aatii\u043c.\u043a.aiklx\u0423ic\u0430nin\u0412sal\u0442lmt\u0443atihl\u043a\u0440a\u043eigrdii\u044ba\u0437nszygno\u043e\u0434\u0432aas\u044biig\u043fjamr\u02bcr\u043aa.i\u0435ramPa\u043aam.q\u2013y\u0439ot1x\u0438qirdia7n\u041c\u2013s\u0441oedoa\u201dsnth\u043da:\u0442izvstaia2.\u0422\u0432r,dn\u0430iittqddi0\u0435H1nv\u0438ua\u0440,n9o\u043eoeb12u.rb\u0435k\u043e9Hi8lin\u0440rni0motxdr\u0434.i\/6aqs\/t\u0438gli1\u2018\u043daadn.i6l\u041dmain\u044fiynr\u043ekpag.si\u043ei4\u0440rnin-rlam.t\u0432oti\u0441a-\u0435.og.Kak\u043eys\u0446gKB\u0447\u2018aktioge\u0435\u0435nm\u201ci\u0435isonvnR\u2018rt\u043do\u0432ra\u0432imua.oinaa\u0438lqs\u044b\u0437.arqtqcii\u0447\u201cli\u0430dil\u0445lasXhikasl\u0435\u0440sasaro\u0430ris\u0441ia\u0443ts\u201dsin\u043akra.a\u043ah.\u0431Taag\u0442ii.l\u2013\u043e.ntn\u0435tq\u043ez,\u2013i2oi\u0433Tm\u0436g\u02bcr\u0432ia0Q\u043ebTni..,st\u043d.1.i,pa\u20132ih5L:T\u043e2r0rF.sa\u041c.o0\u0439\u0442avo0i2z\u0430lrg0a.o\u043bgh01,i\u043d..1m1l\u0438ai0i.\u0446.9lr\u201cs\u043dmf18a\u0430aXa.i\u0433dl.6qanii\u0432nya.ls.\u0438qgid\u0421s\u201dy\u0441:iao\u0430uv\u0442tslk\u0438i\u043daqoostr\u043a\u043a\u2018tho.zii\u0435\u0442x.krii.--\u201d..ii va tavsifi. Toshkent, 2022. 6. L.Avdeyeva. Mukarrama Turg\u2018unboyevaning raqsi. T., 1989.","MINHOJIDDIN 93 \u211602 2022 MIRZO IJODIDA METAFORANING Annotatsiya. Mazkur maqolada O\u2018RNI o\u2018zbek she\u02bcriyatidagi ko\u2018chimlarning lisoniy tabiati, xususan, metaforaning Salimjon G\u2018aniyev, badiiy-estetik va semantik mohiyati, Janubiy Qozog\u2018iston davlat uning diskursiv hamda lingvopoetik pedagogika universiteti xususiyatlari zamonaviy talqinda o\u2018qituvchisi Minhojiddin Mirzo she\u02bcrlari misolida tadqiq qilindi. Kalit so\u2018zlar. tasbeh, metaforik ifoda, chechak, ko\u2018ngil, qizg\u2018aldoq, sog\u2018inch, poetik olam, lisoniy vosita, duo, sadoqat, nastarin. \u0410\u043d\u043d\u043e\u0442\u0430\u0446\u0438\u044f. \u0412 \u0434\u0430\u043d\u043d\u043e\u0439 \u0441\u0442\u0430\u0442\u044c\u0435 \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u044f\u0437\u044b\u043a\u043e\u0432\u0430\u044f \u043f\u0440\u0438- \u0440\u043e\u0434\u0430 \u043a\u043e\u0447\u0435\u0432\u043d\u0438\u043a\u043e\u0432 \u0432 \u0443\u0437\u0431\u0435\u043a\u0441\u043a\u043e\u0439 \u043f\u043e- \u044d\u0437\u0438\u0438, \u0432 \u0447\u0430\u0441\u0442\u043d\u043e\u0441\u0442\u0438, \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d- \u043d\u043e-\u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u0438 \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u0441\u0443\u0449\u043d\u043e\u0441\u0442\u044c \u043c\u0435\u0442\u0430\u0444\u043e\u0440\u044b, \u0435\u0435 \u0434\u0438\u0441\u043a\u0443\u0440- \u0441\u0438\u0432\u043d\u044b\u0435 \u0438 \u043b\u0438\u043d\u0433\u0432\u043e\u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u043e\u0441\u043e- \u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u0438\u043d\u0442\u0435\u0440- \u043f\u0440\u0435\u0442\u0430\u0446\u0438\u0438 \u043f\u043e\u044d\u0437\u0438\u0438 \u041c\u0438\u043d\u0445\u043e\u0436\u0438\u0434\u0434\u0438\u043d\u0430 \u041c\u0438\u0440\u0437\u043e. \u041a\u043b\u044e\u0447\u0435\u0432\u044b\u0435 \u0441\u043b\u043e\u0432\u0430. \u0447\u0435\u0442\u043a\u0438, \u043c\u0435\u0442\u0430- \u0444\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0432\u044b\u0440\u0430\u0436\u0435\u043d\u0438\u0435, \u0446\u0432\u0435\u0442\u043e\u043a, \u0441\u0435\u0440\u0434\u0446\u0435, \u0442\u044e\u043b\u044c\u043f\u0430\u043d, \u043d\u043e\u0441\u0442\u0430\u043b\u044c\u0433\u0438\u044f, \u043f\u043e- \u044d\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u043c\u0438\u0440, \u044f\u0437\u044b\u043a\u043e\u0432\u0430\u044f \u0441\u0440\u0435\u0434\u0430, \u0434\u0443\u044d\u0442, \u043f\u0440\u0435\u0434\u0430\u043d\u043d\u043e\u0441\u0442\u044c, \u043d\u0430\u0441\u0442\u0430\u0440\u0438\u043d. Annotation. This article discusses the linguistic nature of nomads in Uzbek poetry, in particular, the artistic, aesthetic and semantic essence of the metaphor, its discursive and linguo- poetic features in the modern interpretation of Minkhodziddin Mirzo\u2019s poems. Keywords. rosary, metaphorical expression, flower, heart, tulip, nostalgia, poetic world, language environment, duet, devotion, nastarin.","94 She\u02bcriy nutq badiiyatining ling- Metafora. Metafora nar- vistik xususiyatlarini o\u2018rganishga sa-buyum, voqea va hodisalar doir tadqiqotlarda ijodkor olamin- o\u2018rtasidagi o\u2018zaro o\u2018xshashlikka asos- ing badiiy-estetik ko\u2018lami, lisoniy langan ma\u02bcno ko\u2018chish turi bo\u2018lib, li- vositalarning ifoda imkoniyatlari va rik qahramonning voqelikka muno- o\u2018quvchiga estetik ta\u02bcsiri, individu- sabatini obrazli ifodalashga xizmat allikni ta\u02bcminlovchi poetik vositalar, qiladi. Lingvopoetika doirasidagi shakl va mazmun dialektikasi kabi ishlarda eng keng qo\u2018llanadigan masalalar qamrab olinadi. uslubiy vositalardan biri sifatida Zamonaviy tilshunoslik shun- metaforaga ko\u2018p e\u02bctibor qaratiladi. day bir yangi davrga o\u2018tdiki, til hod- Xususan, she\u02bcriyatda obrazlilikni yu- isalarini antropotsentrik tamoyil- zaga chiqarishda, tasvirning aniq, lar asosida lison va BADIIY NUTQ, ishonarli va yorqin tafakkurga qaratil- XUSUSAN, tasavvur uyg\u2018otishi- gan lingvokognitiv, SHE\u02bcRIY da metaforaning lingvopragmatik, o\u2018rni beqiyosdir. Min- lingvokulturologik, hojiddin Mirzo o\u2018z psixolingvistik tabi- she\u02bcrlarida lirik kayfi- atini tadqiq qilish- ASARLAR yatni qabariq holda ga yo\u2018naltirilmoqda. METAFORIK Jahon tilshunosligi- MA\u02bcNOLARNING ifodalash, badiiy-es- da tadqiqotchilarni YANGI-YANGI eng ko\u2018p qiziqtirgan tetik ma\u02bcnolarni yu- masalalardan biri, bu \u2013 metaforadir. Tilning zaga chiqarishda metaforalardan un- umli foydalanadi. Badiiy nutq, xus- ifoda imkoniyatlar- SEMANTIK usan, she\u02bcriy asarlar ini boyituvchi \u201cmeta- QIRRALARINI forologiya\u201d[5;] ham YUZAGA metaforik ma\u02bcnolarn- alohida soha sifatida CHIQARUVCHI yangicha talqinlarda MAYDON ing yangi-yangi se- tadqiqotchilar e\u02bcti- borini jalb qilayotgani mantik qirralarini bejiz emas.[11;] yuzaga chiqaruvchi Metafora \u201cnutqqa maydon sanaladi.[8;] Zero, \u201cPoetik metafo- ra idrok etish qiyin va odat tusiga kirmagan obrazlilik, emotsiya SANALADI. obrazli nfodalar aso- berish maqsadida sida, odatda, yashirin narsa va hodisalar o\u2018xshatish sifatida vu- o\u2018rtasidagi o\u2018xshashlikka asoslanib, judga kelib, poetik asarda fikrni aniq, so\u2018zlar va iboralarning ko\u2018chma voqea-hodisalarni qisqa jumlalarda ma\u02bcnoda ishlatilishi\u201d[10;236] dir. Bin- ifodalashga yordam beradi.\u201d[8;] obarin, til boyligi nafaqat so\u2018zlar, ibo- G.K.Lixtenberg aforizmlarida ralar bilan, balki, so\u2018zlarning leksik va metaforaning o\u2018zi ham obrazli qilib ko\u2018chma ma\u02bcnolari bilan ham o\u2018lcha- tavsiflangan: \u201cEski so\u2018zga murojaat nadi. Shu nuqtai nazardan, \u201cMetafo- qilinganda, u, ko\u2018pincha, ongda ra so\u2018zning leksik ma\u02bcnolari asosida bosh ma\u02bcnosi tomonidan qazilgan leksik xarakterdagi yangi ko\u2018chma kanal bo\u2018ylab yuguradi, metafora ma\u02bcno hosil bo\u2018lishidir\u201d[7;23]. esa o\u2018zi uchun yangi kanal ochadi","95 \u211602 2022 va ba\u02bczan uni \u201cyorib ham yuboradi\u201d. mahsuldor bo\u2018lganligi sababli keng [4;122] qo\u2018llana boshlagan. Biroq, chechak so\u2018zi ham semantik jihatdan \u201cdala Rossiyalik tilshunos olima guli\u201d, \u201cnafis\u201d, \u201cnozik\u201d, \u201cjozibali\u201d kabi V.K.Xarchenko metaforaning 15 ta o\u2018ziga xos nozik ma\u02bcno semalariga funksiyasini aniqlar ekan, uning jan- ega. Shoir Minhojiddin Mirzo tomo- rlar va marosimlar bilan aloqadorli- nidan ham aynan ana shu emot- giga alohida e\u02bctibor qaratadi. Uning sional ma\u02bcno qirralarini nazarda fikricha, \u201cTilning taraqqiyoti muno- tutgan holda yoshlikdagi beg\u2018ubor, sabati bilan so\u2018zning ma\u02bcno qirralari nafis tuyg\u2018ular timsoli sifatidagi kengaymoqda, ikki ma\u02bcnoli, uch - yorga nisbatan chechagim tarzida to\u2018rt ma\u02bcnoli so\u2018zlar ko\u2018paymoqda\u201d murojaat etilgani she\u02bcr poetikasini [9;3]. B.Umurqulov poetik meta- kuchaytirib, kitobxonga estetik zavq foralarning leksik-semantik xususi- berishga xizmat qilgan. yatlarini tadqiq qilar ekan, umum- poetik va individual metaforalarga \u201cSadoqat\u201d she\u02bcrida shoir oqqush- ajratadi. \u201cIndividual metafora, ayniq- larni tasbeh shodasiga o\u2018xshatadi. sa, poeziya janri uchun muhim vosi- Olislarga uchib borayotgan oqqush- talardan biri bo\u2018lib, poetik fikrni oldin lardan biri nogoh qulab tushadi: hech ifodalanmagan yangi formada ifodalash usulidir. Shu jihatdan indi- Bilmadim, horibmi vidual metafora poetik fikrning ta\u02bc- sirchanligini kuchaytiradi.\u201d[8;63] yiqildi bir qush, Oppoq-oppoq Tasbeh shodasidan orzularimga uzildi nogoh. Qiyo boqmay Zaminga quladi kulgan chechagim. oppoq qush behush, Sendan ayro Barchasi qayrilib tushgandan buyon bo\u2018ldilar ogoh. Yulduzlarga Lekin bechora qushning she\u00ad riklari yo\u2018lda davom etadilar va bu aytgum ertagim... hol lirik qahramon yuragiga nishtar sanchadi: ularni insonlarga meng- Chechak. Tabiiy ravishda o\u2018sadi- zar ekan, oqibatsizlikdan o\u2018rtana- gan gulli o\u2018simlik; gul. (O\u2018TIL, 4-jild, di. Bu o\u2018rinda oqqushlar karvoni 477-b.) A.Hojiyevning \u201cO\u2018zbek tili tashbeh shodasiga o\u2018xshatilgan sinonimlarining izohli lug\u2018ati\u201dda va to\u2018g\u2018ridan-to\u2018g\u2018ri ana shu etal- \u201cChechak so\u2018zi eskirgan, asosan, on nomi bilan atalishi metaforani badiiy uslubda qo\u2018llanadi\u201d, - dey- yuzaga keltirgan. Odatda, lingvo- iladi. Aslida, chechak sof turkiy so\u2018z poetik tahlilda ayrim tashbeh va bo\u2018lib, fors-tojik tilidan o\u2018zlashgan iboralarning mikrokontekst (jum- gul so\u2018zi bilan sinonim hosil qilgan. la, nari borsa, bir band yoki bir ab- Keyinchalik gul so\u2018zi ham poetik ji- zas)dagi poetik xususiyatlari tahl- hatdan, ham yasalish asosi sifatida","96 il qilinadi. Lekin, XXI asr o\u2018zbek Qaytmadi hech adabiyoti badiiyat jihatidan shu qadar ilgarilab ketdiki, nasrda ham, u sirli onlar. nazmda ham bunday qismlarga parchalagan holatda tahlil qilish Tushlarimda o\u2018rinsiz bo\u2018lgan \u201cchiyratma\u201d asarlar yaratila boshladi. Bu jihatdan Isajon meni qurshar goh Sultonning \u201cBoqiy darbadar\u201d roma- ni, X.Do\u2018stmuhammadning \u201cBozor\u201d Xushbo\u2018y sochlar \u2013 romani, Nazar Eshonqulning \u201cMay- mun yetaklagan odam\u201d hikoyasi sadarayhonlar. kabi o\u2018nlab polotno asarlar o\u2018z tad- qiqotchilarini kutmoqda. Minhojid- Qor bag\u2018rida din Mirzoning \u201cKo\u2018ngil sog\u2018inchi\u201d she\u02bcrida ham ana shu holat kuzatil- ochilmas lola, di. Metaforik ifodalar she\u02bcrning oxir- gi satrigacha zargarona zanjir hosil Muz qo\u2018ynida qilgan. gullamas daraxt. KO\u2018NGIL SOG\u2018INCHI Endi qalbim Ko\u2018zlaringda senga havola, quyoshni ko\u2018rib, Bahorlarim Erigandi olib ketgan baxt... muz qalbim birdan. She\u02bcriy misralardagi \u201cko\u2018zlaring- Boshim uzra da quyosh\u201d, \u201cerigandi muz qalbim\u201d, \u201co\u2018riklarning dildagi sirdan nur oli- o\u2018riklar gullab, shi\u201d, \u201cnastarinlarning mayin shivir- lashi\u201d (jonli metafora), \u201cqizg\u2018aldoqlar Nur olgandi ungan qalam\u201d, \u201cxushbo\u2018y sochlar \u2013 sadarayhonlar\u201d, \u201cbahorlarim(ni) olib dildagi sirdan. ketgan baxt\u201d kabi okkazional meta- forik tashbehlar lirik qahramonning Nastarinlar sog\u2018inch to\u2018la armonlarini baralla \u201ckuylay olgan\u201d. Shoirning \u201c1937\u201d sar- shivirlab mayin, lavhali she\u02bcrda allyuziya vositasida mazmunan kuchli ijtimoiy meta- Iforlarga forik matn shakllangan. ko\u2018mgach olamni, \t\t 1937 Daraxtlarga osilgan murda \u2013 Hayrat ila Chayqaladi za\u02bcfaron barglar. Ichiqora bir to\u2018p qarg\u2018alar qo\u2018lga olgandim Erta-yu kech qishni daraklar. To\u2018lib ketar zamin murdaga, Qizg\u2018aldoqlar Yurolmaydi odamlar hayiqib. Toqat qila olmay azaga, ungan qalamni... Keta boshlar turnalar qaytib. Qancha yillar o\u2018tdi, fasllar,","97 \u211602 2022 Allyuziya (lot. allusio - ishora, bir sezgi organi bilan idrok etiladi- hazil) - barchaga tanish deb his- gan narsa-tushuncha boshqa sezgi oblangan real siyosiy, maishiy, tarix- organi bilan idrok etiladigan nar- iy yoki adabiy faktga ishora kilishga sa-tushunchaga o\u2018xshatiladi, yaqin- asoslangan stilistik usul. Mohiyatan lashtiriladi va shu asosda ko\u2018chma Sharq mumtoz she\u02bcriyatida keng ma\u02bcno yuzaga keladi.[2;49] qo\u2018llangan talmeh (q.) san\u02bcati- ga yaqin keladi. Farqli jihati shuki, B.M.Galeyev bunday meta- talmehda ko\u2018proq mashhur tarixiy foralarning lisoniy tabiatiga asos- va badiiy faktlarga ishora qilinsa, al- lanib \u201cyovvoyi metafora\u201d deb atay- lyuziyada ijodkor o\u2018z zamonasidagi di. \u201cMa\u02bclumki, metafora nafaqat siyosiy, maishiy yoki badiiy faktlarga qisqartirilgan qiyoslash va balki ishora kilishi ham mumkin. Ya\u02bcni al- qisqartirilgan qarama-qarshilikdir. lyuziyada ishora obyektining doira- Qarama-qarshi belgilar bir-biridan si kengroq.[12;28] Yuqoridagi she\u02bcr- qanchalik uzoqroq bo\u2018lsa, tilshuno- da bayon qilingan voqealar - XX slarning ta\u02bckidlashicha, ularning asr boshidagi mash\u02bcum qatag\u2018on- o\u2018zaro bog\u2018lanishida \u201cmetaforik lar qanchadan-qancha insonlarn- ajablanish\u201d ham shunchalik yorqin- ing yostig\u2018ini quritganligi tarixdan roq bo\u2018ladi.\u201d [1;] barchaga ma\u02bclum. Daraxtlarning sarg\u2018aygan barglari \u2013 osilgan mur- Gullar duo dalarga, qarg\u2018alar \u2013 qatag\u2018onga xiz- mat qilgan xoinlarga o\u2018xshatilyapti, qilar har sahar turnalarning boshqa makonlarga uchib ketishiga esa yurtda kezgan Sadoqatning azalar sababchidek go\u2018yo. Shu tari- qa, uzoq yillardan buyon avlodlar farishtasiga. qalbini iztirobga solib kelayotgan \u201cqatag\u2018on\u201d dahshatlari ijtimoiy ruh- Muhabbat ham dagi kichik hajmli she\u02bcrda metaforik ifodalar orqali ixcham va ta\u02bcsirchan asta bosh egar, shaklda ifodalangan. M.Mirtojiyev, M.Yo\u2018ldoshev, M.Qosimova, T.Bu- Qulluq deya tunboyeva kabi olimlar jonlantirish usulini ham metaforaning bir turi bu bekasiga. sifatida tahlil qiladilar.[6;] Duo [arabcha - iltijo, chaqirish, Minhojiddin Mirzoning \u201cHayoli da\u02bcvat] 1. din. Xudoga yolvorib, unga sog\u2018inchlar\u201d she\u02bcri elimizning ardo- iltijo qilib, o\u2018zi yoki boshqalar uchun qli shoirasi Zulfiyaxonimga bag\u2018ish- yaxshi, ezgu tilak tilash. (O\u2018TIL,1-jild, lanadi. Sarlavhaning o\u2018ziyoq she\u02bcrx- 667-b.) onning e\u02bctiborini tortadi, binobarin, sinestetik metafora orqali \u201cg\u2018ayrita- Duo qilmoq insonga xos har- biiy\u201d birikma hosil qilingan. Hayoli akat bo\u2018lib, bu so\u2018zning gullarga sifati aslida insonga nisbatan qo\u2018lla- nisbatan qo\u2018llanishida \u201cgullar ham nadi, shoir uni sog\u2018inch tuyg\u2018usiga ayolning yaxshiligini e\u02bctirof etadilar\u201d, bog\u2018lab sinestetik metafora hosil \u201cgullar ham ayolning qalb go\u2018zalligi- qilgan. Sinestetik metaforalarda ga maftun\u201d, \u201csadoqat farishtasidan minnatdor bo\u2018lib, unga yaxshi ti- laklar bildiradilar\u201d kabi ekspressiv ma\u02bcnolar anglashiladi. Sinestetik metaforalar ikki yoki undan ortiq","98 so\u2018zlar birikmasidan iborat bo\u2018lib, ul- nafaqat qisqartirilgan qiyoslash va ardan biri hissiy idrok semantikasi balki qisqartirilgan qarama-qarshi- mavjud bo\u2018ladi. Noodatiy (mantiqiy likdir. Tilshunoslarning ta\u02bckidlashi- bog\u2018lanish nuqtai nazaridan) so\u2018zlar cha, qarama-qarshi belgilar bir-biri- yoki so\u2018z birikmasi o\u2018zaro biriktiri- dan qanchalik uzoqroq bo\u2018lsa, ladi va shu orqali hosila-nominativ ularning bog\u2018lanishi natijasidagi obrazli ma\u02bcnoning o\u2018ziga xos turi yu- \u201cmetaforik ajablanish\u201d shunchalik zaga keladi.[3;] Ma\u02bclumki, metafora yorqinroq bo\u2018ladi. Foydalanilgan adabiyotlar: 1.\t \u0413\u0430\u043b\u0435\u0435\u0432 \u0411.\u041c. \u0421\u0438\u043d\u0435\u0441\u0442\u0435\u0437\u0438\u044f \u0432 \u043c\u0438\u0440\u0435 \u043c\u0435\u0442\u0430\u0444\u043e\u0440 \/\/ http:\/\/synesthesia.pro- metheus 2.\t Y\u043e\u2018ldoshev M. Badiiy matn va uning lingvopoetik tahlili asoslari. \u041e\u2018quv q\u043e\u2018llanma. T.: \u201cFan\u201d, 2006.-180 b. 3.\t \u041a\u0440\u0438\u0432\u0435\u043d\u043a\u043e\u0432\u0430 \u0418.\u0410. \u0421\u0438\u043d\u0435\u0441\u0442\u0435\u0437\u0438\u044f \u0432 \u044f\u0437\u044b\u043a\u0435 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0439 \u043f\u0440\u043e\u0437\u044b \u041c.\u0410.\u0428\u043e\u043b\u043e\u0445\u043e\u0432\u0430: \u0430\u0432\u0442\u043e\u0440\u0435\u0444.\u0434\u0438\u0441\u0441...\u043a\u0430\u043d\u0434.\u0444\u0438\u043b\u043e\u043b.\u043d\u0430\u0443\u043a. \u041c.: 2006.-24 \u0441. 4.\t \u041b\u0438\u0445\u0442\u0435\u043d\u0431\u0435\u0440\u0433 \u0413. \u041a. \u0410\u0444\u043e\u0440\u0438\u0437\u043c\u044b. \u041c.: \u201c\u041d\u0430\u0443\u043a\u0430\u201d, 1964. \u2013 210 \u0441. 5.\t Maxmaraimova SH.T. \u041e\u2018zbek tili metaforalarining antropotsentrik tadqiqi (nominativ aspekt): filol.fan.d-ri (DSc) diss... avtoref. Samarqand.: 2020. -70 b. 6.\t \u041c\u0438\u0440\u0442\u0430\u0434\u0436\u0438\u0435\u0432 \u041c.\u041f\u0435\u0440\u0435\u043d\u043e\u0441\u043d\u044b\u0435 \u0437\u043d\u0430\u0447\u0435\u043d\u0438\u044f \u0438 \u0438\u0445 \u043c\u0430\u043d\u0438\u0444\u0435\u0441\u0442\u0430\u0446\u0438\u044f \u0432 \u0443\u0437\u0431\u0435\u043a\u0441\u043a\u043e\u043c \u044f\u0437\u044b\u043a\u0435 : \u0430\u0432\u0442\u043e\u0440\u0435\u0444. \u0434\u0438\u0441\u0441... \u0434-\u0440\u0430 \u0444\u0438\u043b\u043e\u043b.\u043d\u0430\u0443\u043a. \u0422.: 1989.-35\u0441. 7.\t Mirtojiyev M. \u041e\u2018zbek tilida polisemiya. \u2013 T.: \u201cFan\u201d,1975. -230 b. 8.\t Umurqulov B. Poetik nutq leksikasi: monografiya. \u2013T.: Fan, 1990.-164 b. 9.\t \u0425\u0430\u0440\u0447\u0435\u043d\u043a\u043e \u0412.\u041a.\u0424\u0443\u043d\u043a\u0446\u0438\u0438 \u043c\u0435\u0442\u0430\u0444\u043e\u0440\u044b. \u041c.: \u201c\u041a\u043d\u0438\u0436\u043d\u044b\u0439 \u0434\u043e\u043c \u201c\u041b\u0418\u0411\u0420\u041e\u041a\u041e\u041c\u201d,2016. -80 \u0441. 10.\t Shomaqsudov A. va boshqalar. \u041e\u2018zbek tili stilistikasi. \u2013 T.: \u201c\u041e\u2018qituvchi\u201d, 1983. -260 b. 11.\t Qobuljonova G.K. Metaforaning sistemaviy-lingvistik talqini: Filol. fan. nomz. ... diss. \u2013 T.:2000.; -26 b. Nasrullayeva G.S. Antropotsentrik metaforan- ing lisoniy, kognitiv va lingvomadaniy aspekti: filol.fan.b.fals.d-ri (PhD) diss. avtoref. Farg\u2018ona.: 2019.;-26 b. Maxmaraimova SH.T. \u041e\u2018zbek tili metaforalar- ining antropotsentrik tadqiqi (nominativ aspekt): filol.fan.d-ri (DSc) diss... avtoref. Samarqand.: 2020. -70 b. va boshq. 12.\t Quronov D., Mamajonov Z, Sheraliyeva M. Adabiyotshunoslik lug\u2018ati \/ f.f.d. D.Kuronovning umumiy tahriri ostida. \u2013 T.: Akademnashr, 2010.-340 b. 13.\u041e\u2018zbek tilining izohli lug\u2018ati.1-j.T.: \u201c\u041e\u2018zbekiston Milliy ensiklopediyasi\u201d Davlat ilmiy nashriyoti, 2007. -680 b.","\u21162 2022 Ilmiy-nazariy, amaliy-uslubiy, ma\u2019naviy-ma\u2019rifiy jurnal O\u2018zbekiston Respublikasi Prezidenti Administratsiya huzuridagi Axborot va ommaviy kommukatsiyalar agentligi tomonidan 17.02.2022 yilda \u2116 1567 raqam bilan ro\u2018yxatga olingan. BOSH MUHARRIR: Shuhrat Toxtasimov BOSH MUHARRIR O\u2018RINBOSARI: Mirmuxsin Gapurov TAHRIR HAY\u02bcATI: Nozim Qosimov Jahongir G\u2018aniyev Hulkar Hamroyeva Ravshan Jomonov Matluba Murodova Po\u2018lat Tashkenbayev Dildora Kasimova Tumaris Butunboyeva Gulasal Usmonova JAMOATCHILIK KENGASHI: Muhabbat Tulyaxodjayeva Ildar Muxtarov Oqilxon Ibragimov Baxtiyor Ashurov Dil\u0430fruz Qurbonova DIZAYNER: Muhammadxon Yusupov BOSISHGA RUXSAT ETILDI: \u2026\u2026\u2026\u2026. BICHIMI: 60\/84 1\/8 ADADI: \u2026\u2026\u2026. Tahririyatning ruxsatisiz jurnal materiallaridan foydalanish taqiqlanadi. Materiaallar ko\u2018chirib bosilganda manba ko\u2018rsatilishi shart. Yuborilgan materiallar taqriz qilinmaydi va qaytarib berilmaydi.",""]