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Abstract
Pianino ijrosida texnik mahoratga intilish uzoq vaqtdan beri pedagogik usullarning markaziy yo‘nalishi bo‘lib kelgan, barmoqlarning mustaqilligi, tezligi va kuchiga urg‘u berilgan. Biroq, barmoqlarga asoslangan, izolyatsiya qilingan yondashuvlarga tarixiy jihatdan haddan tashqari tayanish, ko‘pincha musiqachining jismoniy mavjudligini yaxlit tushunishdan ajralgan holda, pianinochilar orasida chalish bilan bog‘liq jarohatlarning yuqori darajada tarqalishiga olib keldi. Ushbu maqola bakalavr darajasidagi pianino mashg‘ulotlarida paradigmatik o‘zgarishni ta’kidlaydi va texnik rivojlanishning asosiy poydevori sifatida somatik tana ongini ataylab va tizimli ravishda integratsiyalashni taklif qiladi. Texnikaning bajarilishi kerak bo‘lgan bir qator harakatlar sifatidagi an’anaviy qarashidan tashqariga chiqib, ushbu asos texnikani musiqiy ifoda xizmatida butun tananing dinamik, muvofiqlashtirilgan va aqlli ishlatilishi sifatida qayta ko‘rib chiqadi. Maqolada Aleksandr texnikasi, tana xaritasi va ijro fanidan olingan tushunchalarga tayanib, cholg‘u asbobida samarali harakatlanishning asosini tashkil etuvchi fiziologik va nevrologik tamoyillar ko‘rib chiqiladi. Unda haddan tashqari kuchlanish va kinetik disfunktsiyaga olib keladigan keng tarqalgan pedagogik noto‘g‘ri yo‘nalishlar tanqid qilinadi. Tana ongini kundalik amaliyotga, xususiy darsga va bakalavr o‘quv dasturiga kiritish modeli taqdim etiladi. Pirovard maqsad - bu cholg‘u asbobi bilan umr bo‘yi va barqaror ishlashga qodir bo‘lgan ongli, xabardor va bardoshli ijrochini tarbiyalashdir, bunda texnik mahorat jismoniy farovonlik va ifoda erkinligidan ajralmasdir
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