Vocalist's Concert-Stage Artistry as an Art Course Phenomenon

Abstract

The author of the article analyzed the invariant interpretation of the essence of the concept "artistry" given by representatives of various science branches (psychology, pedagogy, art history, etc.). Having considered the functional orientation of the vocalist's concert and stage artistry, it becomes possible to recognize it as a phenomenon of art course phenomenon. It has been proven that the concert and stage artistry of a vocalist should be studied precisely from the standpoint of art history, and not only from the standpoint of psychology, pedagogy, and other fields of science. According to the existing paradigm, it is the researchers of art course studies who have the tools to determine the essence of this phenomenon, since they have a deep understanding of the characteristic features of the individual physiology of the vocalist's vocal apparatus. The physiology of the vocal apparatus affects the timbral and aesthetic coloring of the sound; builds the individual reflection in the process of transforming the singer into an imaginary artistic image of a musical work; creates "manners" of sound creation taking into account the logic of building melodic and rhythmic lines in flexible intonation and phrasal development; clarifies the specifics of the effect of emotogenic conditions on the work of the vocal apparatus, etc. The article describes the essence of the concept of "concert and stage artistry of a vocalist" from the point of view of art history. It has been found that the specified art phenomenon reflects the specificity of the internal transformation into an artistic image of a musical work and a universal system of communicative and regulatory stage movements aimed at convincingly strengthening the process of conveying the necessary information to listeners/spectators during a public performance. The mechanisms of manifestation of the vocalist's individual type of concert and stage artistry (irrational and expressive) are revealed from the standpoint of the psychological theory of empathy. The specifics of the definition of the "communicative core" of irrational and expressive types of the vocalist's concert and stage artistry are described, taking into account the individual features of his performance style.