THE PLACE AND SIGNIFICANCE OF N.N. MIRONOV'S

This article describes the work of N.N. Mironov, a Russian composer and ethnographer who performed musically in Turkestan at the beginning of the 20th century. Some opinions were also expressed on an article by a scientist called "Uzbek folk music", published in the journal "Izvestia" in 1938.

Purpose: to determine the place and significance of N. N. Mironov’s creative activity in the history of musical culture of Uzbekistan. Also, the purpose of the work was to interpret the scientist’s scientific articles and draw appropriate conclusions.

Method: to cover the topic, such research and analysis methods as classification, comparative historical, etc. were used.

Result: N. N. Mironov became not only a witness, but also a direct participant in the development of Uzbek music for 35 years. Like many musicologists, N.Mironov characterizes the Uzbek maqam as an epic “poem” and says that Uzbek music is divided into two main types: classical and folk.

Scientific novelty: Opera recitatives, which are an integral part of European operatic art, were considered a great novelty for Uzbek performers of that time. N. Mironov suggests using only some other forms of oriental style recitative as a solution to this problem. Recognizing that the Georgians, Turks and Tatars solved this problem by introducing dialogues in the form of dialogues or dialogues against the background of musical works instead of operatic recitatives in their musical performances is undoubtedly the most suitable image for the Uzbek national opera. N.Mironov is not only a performing musician, but also an ethnographer, teacher, and music director.