Орфоепічні норми у творчості студентів-вокалістів у контексті слав’янськіх мов

Abstract

The article deals with the problems that arise when pronouncing a «foreign» literary text, as well as the methods and methods of their elimination. In this qualification, vocal training is seen as a coherent and complex system that is a combination of different components and can be achieved more efficiently in terms of the creative approach of the student himself as a future music teacher. Also on the development of methods and techniques of orthoepic pronunciation. Тhe training was conducted by us using specially designed different types and types of exercises aimed at the correct pronunciation of the literary text. Emotions were used to effectively study the literary text. One of the effective means of influencing students’ emotions and feelings is the connection between a literary text and a musical one, which is the strongest stimulus that can penetrate the depths of consciousness. A very important point in the study of literary text is the language group. The closer it is, the less there are differences in the norms of prosodic characteristics (emphasis, pitch, tone change, intervals, pauses, agogics, etc.). Selected for a certain phonetic complexity, they contribute to the development of the articulatory apparatus and form pronunciation skills. This allows the singer to figuratively and accurately reflect the various aspects of human social life in songwriting. Learning and performing songs in a foreign language, as well as memorizing whole phrases and large song fragments, is much more successful than memorizing individual words. In our work, memorization was limited to allowing the student to feel the place of the tongue in the mouth when speaking. Thus, the training of future professionals on the basis of modern methodological approaches, as well as improving performance skills puts before music faculties the task of forming a future music teacher as a creator of aesthetic values, as a carrier of singing culture.