РОЛЬ ЕМОЦІЙНИХ ЗАСОБІВ У ВИКОНАННІ ВОКАЛЬНО-КАМЕРНОГО ТВОРУ

Abstract

The present paper examines the different ways used in professional training of the future vocalist. Vocal repertoire of the students’ training plays a great role in their aesthetic as well as artistic development. It is stressed that vocal repertoire has to be very varied: the diversity of musical works improves musical hearing and taste, develops singing and artistic performance. Thus, an experienced teacher has to pay considerable attention to the selection of appropriate vocal repertoire. By using a varied, well-selected repertoire students familiarize themselves with different singing techniques, music styles and works. Moreover, they learn how to sing with correct articulation, discover the peculiarities of poems transformed into songs, sense all shades of musical intonation and, consequently, recreate them in their own singing performance. Therefore, a varied, appropriately chosen vocal repertoire has inexhaustible opportunities in teaching a highly-professional vocalist.It has been emphasised on multiple occasions that vocal performance of musical works with varying degrees of emotional charge. Such an approach to voice coaching consists in the idea that as the educator is striving to enhance the quality of his student’s voice, he must not deprive the student of a chance to generate sound on his own terms, with a naturally emerging emotional colouring whereby the educator is to assist the student in terms of how to bring out fine shades in the timbre of the vocalist as per specific artistic and emotional assignment pertaining therewith. The article also stresses the fact that chamber vocal performances substantially contributes to the singer’s professional development, expands his outlook, enriches him intrinsically, enables him to master new vocal patterns as judging by the singer’s manner of performance, his eloquence and the degree of sophistication in musical phrases, the depth of image perception, one may immediately form an opinion on how familiar the singer is with musical literature. It has also been stated that vocal control is typically assumed in the course of working on the artistic image, as the artist is selecting the most suitable means of expression. Thus, from the very first years of vocal training, it is necessary to disclose – to the singer’s attention – the concealed properties of tempos, metric lines, musical forms and the architecture of rhythm wherein the dynamics of processes incarnated in music is revealed. It is further highlighted that the emotional stage in the ongoing performance of each vocal work that is being studied in the classroom contributes to the emotional colouration of the sound corresponding with the properties of the work in question. It is particularly important to ensure that the singer obtains and maintains his vibe (emotional disposition) throughout the process – not only during the performance of a musical work within an academic concert but also in the course of primary processing of the said work – i.e., from the very beginning.It should be emphasized that a teacher has to show students how correctly to choose emotional components, which will result in the professional performance of their vocal repertoire.