Future Singers Research Articles

The relevance and specificity of using choral works by modern composers in the class of «choral conducting»

In the article, the author addresses the issue of the repertoire of choral groups in the class specializing in Choral conducting. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Spiritual compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Modern choral works use various innovative technologies that present a technical difficulty and require a certain methodological approach. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors. The educational repertoire of choral students and the list of choral works performed by vocal groups at concerts/competitions/festivals have little overlap. If concert performers increasingly include music by contemporary authors in their program, then classical music still makes up a larger percentage of the repertoire in educational institutions. The following conclusions can be drawn from the study. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Religious compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Updating the repertoire plays an important role in the education of music students. This is not only the study of innovative ideas of modern composers, the use of innovative technologies in teaching, but also the moral and ethical side. We have noted that in the music of the XXI century, the tendency to reflect reality and its constant changes is often applied. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors.

Вокальное искусство в Беларуси 20-30-х годов ХХ века: оперное исполнительство и образование

The aim of the study is to show the process of formation of the school of opera vocal art in Belarus in the 20s-30s of the XX century. Over the hundred years of its existence (1922-2022), opera vocal performance and the vocal school in the republic have undergone the stages of emergence and development through the comprehension of the leading principles and techniques of the European vocal performance practice, the formation of which took place over several centuries. The scientific novelty lies in identifying the principles of professional vocal education in Belarus: the reliance on approaches and methods formulated by the Russian vocal school; the formation of singers as artists through the synthesis of vocal and technical skills of future performers and their mastery of dramatic art skills, through their immersion in opera vocal performing art; the organisation of the educational process in such a way that future singers could master the leading performing styles of European opera art. As a result, it has been proved that the 20s-30s of the XX century became a time of significant changes and rapid development for the young Belarusian republic. Opera vocal performing art in the republic formed as a vivid highly professional phenomenon that had all the opportunities for its development and approval in the European musical performing space.

DEVELOPMENT OF VOCAL AND PERFORMANCE SKILLS OF VOCALISTS OF ARTISTIC EDUCATIONAL INSTITUTIONS

In the conditions of social renewal, the modern vocal school is called to promote the revival of spiritual culture, to educate the spiritually rich generation. Vocal art is an important tool, the key to mastering the culture and solving the problems of life creation.Vocal training occupies a significant place in the system of professional music education, as it involves the formation of vocal knowledge, skills and abilities on the best examples of classical, folk and modern music. Mastering a variety of repertoire requires knowledge of the peculiarities of singing manners.The article considers the features of vocal training of future singers and the psychophysiological factors influencing the development of vocal abilities. Techniques that help people fully master voice data, expand the range, make the voice brighter and more voluminous and important aspects and factors are called for the realization of individuality in creativity and increase of a level of professional skills of the musician in vocal-performing. The author pays attention to the analysis of specific vocal abilities, fundamental sections of vocal training, and important aspects associated with the implementation of individual creativity and the high level of professional skill of the musician in performing activities. Furthermore, an important condition for improving the level of professional training of future music teachers is distinguished. It is the improvement of vocal preparation through updating its content and introducing modern approaches and technologies into the educational process. Particular attention is paid to the analysis of the specific vocal abilities of the child and the fundamental sections of vocal training (the fundamentals of breathing, sound support, vocal diction, range, strength, volume, brightness, style, manner of performance. In front of contemporary music educational institutions of artistic direction, there are complex tasks connected with the realization of individual creativity and the high level of professional skill of a musician while performing an activity. The main task is to prepare graduates for performance at a high level of professionalism to reveal the creative potential of the personality of the musician-performer, to ensure a high level of cooperation with other musicians.
 Keywords: vocal art; musical and figurative thinking; music-related memory; singing voice; breathing; self-regulation; range; articulation; timbre.

The vocal auditory self-control as a means of improving the professional skills of future singers

The purpose of the article is to determine the conditions, aimed at the formation of the professional skills of vocal and auditory self-control of the singers. Methodology. The research methodology is the solution of the tasks, by using general scientific methods of theoretical (analysis, synthesis) and empirical researches, which provided the possibility of complex scientific knowledge. Scientific Novelty. The scientific novelty of the research is the analysis of the content of vocal-auditory self-control in accordance with the specifics of professional vocal-performing activity, the essence of the concept «vocal-auditory self-control». The basic components of vocal and auditory self-control are characterized. Conclusions. Musical-auditory self-control should be considered as the only complex of auditory, muscular, vibrating, and sensations, which provides professional performance of musical compositions. The main effect of self-control is manifested into the combination of feelings that correspond to professional vocal skills. The absence of any of them leads to a decrease in skills. The level of skills that combine elements of vocal and auditory self-control can serve as criteria for the development of professionalism in the vocal activity.

Choral Singing and Solo Singing in the Conditions of the Society and the Education System of Our Schools

Choral singing is the highest level of singing and artistic collaboration of more people. The beginnings of this kind of singing are in the first human societies. It is thought that before singing in society, man began to sing himself as an individual. Therefore, solo singing and choral singing are closely related to each other. General music education in schools also includes systematic work in school choirs. Choir teachers and leaders (conductors) should plan not only to learn songs and compositions, but also to learn and practice vocal singing. In this way students would be trained in solo singing and choral singing. In primary schools, there is an opportunity for the development of amateur choirs, from which future singers for amateur choirs often emerge. This research has been done in schools of Kosovo and North Macedonian regions. The cultural and social mission of amateur choirs lies not only in the massification of music, but also in social and cultural development, and strengthens the discipline of a collective work and wider cooperation.

Методологические основы компетентностных преференций, необходимых для педагога по вокалу при формировании вокально-слуховых навыков в современной диссонансной звуковой среде

in the modern world, the problems of improving vocal pedagogy and methodological developments in the field of training future singers and vocal teachers should be considered not only from the point of view of the traditional classical school of singing described in the works of famous scientists, but also together with new information and communication technologies that have already firmly entered various fields of pedagogy and mass culture. It will be a mistake to oppose the fundamental vocal teaching methodology, which gives new generations of students a solid basis for the formation of vocal competencies, new pedagogical approaches in the field of hearing development using modern information and digital technologies. The task of modern methodist scientists is to combine classics and modernity, traditions and innovations in order to form new competencies among vocalist students, future performers and teachers.

THE SPECIFICITY OF STUDENTS’ CREATIVE SELF-EXPRESSION IN THE PROCESS OF CONDUCTOR-CHORAL EDUCATION

Object. The article considers the issues of the future singers` and choral conductors` creative self-expression in the process of conductor-choral education. Methods. Analytical, historical-comparative, retrospective method was used in writing the article. Results. As a result of the analysis and generalization of scientific psychological-pedagogical and art-literary literature, comparison, comparison of different opinions the definition of the concept «creative self-expression of students» is presents. It means a conscious act of discovering and affirming the individual, personal and subjective capabilities of the «I am» as a professional, defining himself as a creative person and individuality. The advantages of the study are to identify the specifics of future singers` and choir conductors` creative self-expression as students of higher education. The success of individual psychological self-expression is determined by good health, muscle activity, development of singing and conducting apparatus, students` cognitive and emotional sphere. A positive factor in the student` personal and professional self-expression is the formation cognitive and professional interests, spiritual values, character traits that are regulators of singers` and conductors` professional growth as creative individuals. Prominent indicators of the growth of singers` and choir conductors` creative self-expressio, their leading professionally important qualities are musicality as an integrative musical ability (musical hearing, metro-rhythmic ability, musical memory, musical thinking, musical imagination) and performing skills (performing reliability, artistry, instrumental, vocal and choral, conducting skills). The specifics of future singers` and choir conductors` personal self-expression are determined (on the basis of diagnosis) as a level of cognitive and professional interests, ideals and value orientations on spiritual and national-civic values. Conclusions. The study summarizes a set of character traits that form the basis of singers` and choir conductors` professional success of (honesty, loyalty to the beauty, the ability to consciously and artistically embody it in the choral sound; friendliness, responsibility, optimism). It was found that the level of students` creative self-expression as a subject of his own professional development depends on the timely diagnosis, stimulation, content and procedural support the process of his professional «I am» –concept formation. It is proved that the contradiction between the real and the ideal «I am» becomes the source of the singers` or choir conductors` personal and professional development. On the basis of scientific research on professional acmeology the ways of singers` and choir conductors` creative self-expression as bright individuals (integration of individual, personal, subjective structures into integrity, identification of specificity of individuality, selection of content of own «I am», systematization and generalization of individual and specificity self-expression taking into account all factors, identifying the uniqueness of the relationship of all substructures, determining the social orientation of their own self-expression in further professional activities).

Особенности работы над дыханием для устранения тремоляции в процессе пения

The article deals with the problem of eliminating one of the most common drawbacks in students’ singing – the presence of tremolation in the sound. It is noted that attention to this problem can be traced in the works of both Russian and Chinese scientists. At the same time, one of the ways to solve this problem is to develop proper singing breathing of future singers by introducing vocal exercises into the content of training, which are aimed at consciously controlling the singing apparatus when inhaling and exhaling. Analyzing the researchers’ views on breathing as the basis of singing intonation and their methodological recommendations, attention is drawn to the fact that in the works of Chinese scientists and practitioners, the main emphasis is on the use of special exercises, and the main thing is to develop the correct support for breathing. In the exercises recommended by Russian musicians-teachers, along with the technological component, the students’ attention is focused on the peculiarities of inhaling and exhaling, depending on the musical material being performed. One of the directions of vocal work to eliminate tremolation and even the possibility of its appearance, can be the acquirement of the correct breathing techniques by singers in the process of performing works that involve different ways of science of sounding.

The role of the vocalist teacher in setting the voice of future singers

In this article we are talking about the educational significance of national songs in shaping the spirituality of the young generation, as well as the painstaking work of a master teacher on vocals when setting the singer’s voice.

МИХАЙЛО ГОЛИНСЬКИЙ – СПІВАК СВІТОВОЇ СЛАВИ

The article deals with the creative personality of the outstanding singer Mykhaylo Holynskiy, who became the pride of the national vocal school, as well as a showcase example of many opera scenes and concert venues of Europe, America and Canada. The stages of his formation as a professional singer are covered. The versatile repertoire of M. Holynskiy and the contribution of the artist to the formation and development of state opera theaters of Odessa, Kyiv and Kharkiv are considered. The emphasis is made on the Ukrainian-language performances of the singer at the opera stages of Moscow and Tbilisi. It is also noted that the artist was an active participant in the musical and social life of Galicia. Much attention is paid in this study to the creative periods during which M. Holynskiy lived in Europe, America and Canada. There are positive responces of reviewers and music critics who note that the period the singer spent abroad has become an important page of his creative and performing career, which was aimed at popularizing Ukrainian chamber-vocal music. The article mentions the cultural and artistic association “Kozub”, which was headed by the artist for a long time, as well as the book “Spohady” (“Memoirs”), in which he left the information for his followers about the smallest details of his life enriched by interesting events and artistic accomplishments. The guides of M. Holynskiy for future singers are provided. The authors note that the dedicated creativity and performance of the artist are the embodiment of the great cultural and artistic potential of the Ukrainian nation. While living abroad, the singer managed to preserve his national roots, remained a patriot of his native country and played a role in the spiritual enrichment of the representatives of Ukrainian diaspora and the international community. Receiving recognition at leading opera and chamber stages, M. Holynskiy made a significant contribution to the development of vocal performance art of his country and the world.

The role of the vocalist teacher in setting the voice of future singers

In this article we are talking about the educational significance of national songs in shaping the spirituality of the young generation, as well as the painstaking work of a master teacher on vocals when setting the singer’s voice.

Методи роботи студентів над вокальними творами у класі сольного співу

The article examines one of the aspects of the professional training of future singers and teachers of solo singing in the system of university education. The scientific-pedagogical,vocal, methodical and practical experience accumulated in this area has been analysed. It has been found out that students’ methods of work on vocal pieces require scientific basis. Those methods contribute to the effective formation of professional competencies. On the basis of this, the purpose of the research is formulated and the hypothesis that the preparation of students for concert performing and vocal pedagogical activities will be more effective if the work on vocal pieces rationally combines general scientific, didactic and special musical principles, methods and means of teaching, taking into account modern level of development of the vocal arts. The application of methods of analysis, pedagogical observation and generalization enabled us to obtain positive results of scientific research. The essence of the concepts of ‘teaching methods» and «means of teaching» in the high school and the specifics of their implementation in vocal training of students is revealed. The role of vocal pieces in the formation of professional competencies of students is described. The effective and pedagogically expedient methods of work on vocal pieces in the class of solo singing are determined. We concludes that: 1) work on vocal pieces in the class of solo singing is the most important component of of future vocalists training for their professional activity; 2) students’ mastering of scientifically grounded methods of work on vocal pieces contributes to the successful formation of vocal-performing, vocal-stage, vocal-methodical and other professional competencies; 3) success of students’ work on vocal pieces in the classroom of solo singing depends on the ability of teachers rationally combine general scientific, didactic and special musical principles, methods and means of teaching.

Parameters of phoniatric examinations for solo singers

A phoniatrist analyzes the professional's voice at the beginning of his vocal studies or career but also later, in cases of voice disorder. Phoniatric examination of professional singers must be done according to "all inclusive" protocols of examination. Such protocols must establish the status of basic elements of phonatory system: activator, generator and resonator of voice and articulatory space. All patients requiring phoniatric examination no matter if they are candidates for professional singers, need to provide anamnestic data about their previous problems regarding voice or singing. This examination is necessary and it must include: examination of nose, cavum oris, pharynx, ears and larynx. This analysis is based on evaluation of physiological and pathophysiological manifestations of voice. Determination of musical voice range during phoniatric examination does not intend to make any classification of voice, nor to suggest to vocal teacher what he should count upon from future singers. Musical range can be determined only by a phoniatrist skilled in music or with musical training, but first of all vocal teacher. These methods are used for examination of phonatory function, or laryngeal pathology. They are not invasive and give objective and quantitative information. They include: laryngostroboscopy, spectral analysis of voice (sonography) and fundamental parameters of voice signal (computer program). Articulation is very important for solo singers, because good articulation contributes to qualitative emission of sound and expression of emotions. Tonal-threshold audiometry is performed as a hearing test. They include rhinomanometry, vital capacity measurements, maximal phonation time and phonation quotient. Phoniatric examination is a necessary proceeding which must be performed before admission to the academy of solo singing, and then during singers' education and career. The phoniatric protocol must include a minimal number of parameters, which can be increased if required. All parameters of phoniatric examination must be adequately evaluated by experts.

Blues legacies and black feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday

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Oral and written transmission in Ethiopian Christian chant

Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.