Vocal Compositions Research Articles

The Vocal Cycle “Machines Agricoles” As A Manifestation Of Darius Milhaud’s Creative Credo

ABSTRACT The purpose of this study was to identify the key aspects of Darius Milhaud’s creative credo through the lens of the vocal cycle “Machines agricoles”. The musical elements in the vocal cycle were investigated to analyse its composition. The study of Darius Milhaud’s work, including his vocal compositions, revealed the influence of historical events, cultural and social trends on his music, considering the context of the time. The study also covered the unique features of Milhaud’s creative style in this particular vocal cycle. Additionally, the socio-cultural aspects of the period were highlighted. The analysis of the vocal cycle “Machines agricoles” underscored its significance in the artistic context. Therewith, issues that cause differences in its interpretation were identified. Reflecting the interaction with the cultural context and personal feelings, this cycle is not only a piece of music, but the embodiment of a new understanding of human and nature. The analysis of the composition and aesthetic aspects of this cycle revealed the profound significance of Milhaud’s creative principle. This study opened new perspectives for understanding Milhaud’s creative legacy and contributed to a broader understanding of the art and cultural context of the time. The study of the vocal cycle “Machines agricoles” by D. Milhaud helped to expand the understanding of the composer’s creative heritage and his approach to composition. The study highlights Darius Milhaud’s unique musical techniques in vocal cycles, offering insights into his creative process. It underscores Milhaud’s significance in 20th-century music and his impact on musical culture.

Towards a forgotten language I implications of prelinguistic language and aphasia in my vocal works

Prelinguistic language and aphasia share common ground, both in theory as in practice. Approaching the two fields as a pool of information and even more as a metaphor for composing vocal – based music, opens up a new window of tools and potentials. This paper is a collection of concepts, originating from prelinguistic language, aphasia and from my general vocal composition practice. Application examples are given from my own work, for each of these concepts. These concepts are gathered together into one diagram, which eventually questions whether the playful deconstruction that creators often look for is a step forward or backwards in time. Eventually, the paper questions the use of existing texts in composition under the scope of Jungian theory.

Group vocal composition and decision-making during roost finding in Spix's disk-winged bats.

Theoretical work suggests that having many informed individuals within social groups can promote efficient resource location. However, it may also give rise to group fragmentation if members fail to reach consensus on their direction of movement. In this study, we investigate whether the number of informed individuals, exemplified by bats emitting calls from different roosts, influences group cohesion in Spix's disk-winged bats (Thyroptera tricolor). Additionally, we explore the role of signal reliability, quantified through signalling rates, in group consensus on where to roost. These bats use contact calls to announce the location of a roost site and recruit conspecifics. The groups they form exhibit high levels of cohesion and consist of both vocal and non-vocal bats, with vocal behaviour being consistent over time. Our findings revealed that an increase in the number of roosts broadcasting calls is strongly associated with the likelihood of groups fragmenting among multiple roosts. Additionally, we found that a majority of group members enter the roost with higher calling rates. This phenomenon can mitigate the risk of group fragmentation, as bats emitting more calls may contribute to greater group consensus on roosting locations, thereby reducing the likelihood of individuals separating and enhancing overall group cohesion. Our results highlight the potential costs of having too many information producers for group coordination, despite their established role in finding critical resources. This article is part of the theme issue 'The power of sound: unravelling how acoustic communication shapes group dynamics'.

Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class

Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is complicated by the appearance of a new, “performance” trinity unit of vocal and two instrumental parts, which requires especially high-quality ensemble, and therefore a special study of algorithms for its achievement, because the teacher from the concertmaster class has to be a kind of director in coordinating all the layers of the musical texture of such a poly-timbre ensemble. Objectives, methods, and novelty of the research. The purpose of this article is to designate a certain algorithm for the interpretation of a chamber vocal-instrumental ensemble in the concertmaster class as a poly-timbre structure represented by the performance trinity of vocal and instrumental parts. Until now, the interpretative issues of a musical and poetic work have not yet been thoroughly considered in scientific publications under such angle. Imagery and dramatic, intonation, timbre and textural, structural and functional, and performance analysis of the musical and poetic text of a number of chamber vocal compositions of different times and styles (by J. Brahms, V. Barvynsky, V. Sylvestrov), carried out in the study, reveals the specifics of the formimg the ensemble vocal and instrumental texture of works as an artistic integrity. Research results and conclusion. Given the specifics of vocal and instrumental compositions with the involvement of an additional string or wind instrument in the piano accompaniment, we state the advisability of using a certain algorithm for learning them in the concertmaster class. First, it is an in-depth analysis of the poetic original source of the work, if necessary, its complete translation from a foreign language, in order to reveal its leading idea and circle of images. Secondly, it is necessary to determine the main factors influencing the style and quality of the performance of the piece, namely: – the type of relationship between Words and Music, as well as the syntactic features of the verbal text, which determine the character of vocal and instrumental intonation; – genre orientation of the composition; – the functions of the instruments in the ensemble, according to the figurative dramaturgy and structure of the composition, both purely textural (solo, accompaniment, subvoice), and figurative-semantic (“Author’s voice”, “adding”, “finishing” of the vocal part, “leit-timbre”, etc.). Therefore, the poly-timbre quality of the accompaniment of the vocal part becomes an important “starting point” of the interpretive work on the vocal piece in the class of concertmaster skill. The performance “trinity unit” obliges to a particularly coordinated ensemble, in particular, between the instrumental parts, when they together realize the artistic idea of the vocal work as the embodiment of the “correlation of the author’s systems (Poet – Composer)” (Buchok, 2022: 44). Regarding the latter, according to our observation, the considered type of chamber vocal instrumental ensemble is connected with the involvement of poetic sources with special semantics – those that appeal to images and ideas of a “higher plane”, are aimed at spiritual contemplation, or convey personal “movements of the soul”, the adequate perception of which is impossible outside the context (in the examined compositions by J. Brahms, V. Barvinsky and V. Sylvestrov – spiritual and religious ones), which implies the presence of poly-semantic figurative structures in such works. So, the use by composers of the timbre of an additional solo instrument in chamber vocal compositions can be connected with the artistic embodiment of a “higher principle”: the inclusion of a segment of “pure” (instrumental) music best conveys the sublimity and spiritual pathos of the images of the poetic Word, reveals its semantic connotations, “personifying” the higher ideological level of the work or the actual “voice” of the Author (Poet – Composer).

Female chamber vocal cycle of the 1960s–1970s and the “new folk wave”. Part 1. In search of intonational authenticity

The subject of the study is the chamber and vocal work of Soviet composers of the 1960s–1970s, the works of the undisputed leaders of the young post-war generation of musicians from the “sixties”. The author of the article studies the neo-folklore searches and experiments of R. Shchedrin, B. Tishchenko, S. Slonimsky, V. Gavrilin, E. Denisov, which became the most important component of the significant artistic movement “new folklore wave”. During these years, there was a peculiar accumulation of outstanding sample compositions, striking in their originality and brightness, new recording techniques, and the authors’ extremely conscientious attitude towards original materials collected in conservatory folklore expeditions. At the turn of the 1960s, the chamber-vocal cycle took leading roles in the work of many Soviet composers and Russian music in general. Vocal compositions, with their inherent versatility, capable of flexible modifications, turned out to be a fertile area for the creative efforts of musicians of different generations. The article uses the following scientific research methods: comparative analytical, structural and functional, as well as cultural method. The author of the article uses literary-textual and musical-textual methods for research, and also relies on the fundamental provisions of general historical methodology, in particular, sociocultural, historical-chronological, and biographical. The main conclusion of the study is the idea that the chamber-vocal works of the “new folklore wave” have a “female face”, since most of them were written for performance by female voices. Folk melody and rhythm, a lively intonation environment, the direct emotionality of folklore became not only a kind of “counterweight” to sophisticated avant-garde techniques in the music of the second half of the twentieth century, but the most important component of the composer’s language and even thinking, and sometimes the main support of creative expression. The author for the first time deeply and fully explores the “female” vocal cycle of the 1960s–1970s, those works that are associated with the unique and powerful artistic movement “new folk wave,” a phenomenon that was at the forefront of the radical renewal of Russian music in the second half of the twentieth century.

КЛЮЧЕВЫЕ МОМЕНТЫ ПРИМЕНЕНИЯ ВОКАЛЬНОЙ ФОНОПЕДИИ ПРИ ДИЗАРТРИЧЕСКИХ РАССТРОЙСТВАХ

In their study, the authors consider such a relevant interdisciplinary section of medical speech therapy as voice therapy (vocal rehabilitation or phono pedagogy), namely its subsection — vocal-voice therapy (vocal rehabilitation), in the context of its effect on adults with mild dysarthric disorders, which is poorly covered in the Russian specialized speech therapy literature. The article outlines the features of violations of the components of voice and speech in dysarthria. In addition to vocal-voice therapy (vocal rehabilitation) techniques, the authors emphasize the importance of including the necessary speech therapy algorithms and multimodal intervention techniques in the work. The article outlines the general principles and some technical resources for the step-by-step vocal-voice therapy (vocal rehabilitation) of students diagnosed with a symptom of dysarthria, based both on personal successful experience of many years of work and on the experience of foreign colleagues. The stages of vocal-voice therapy (vocal rehabilitation) work described by the authors include: breathing exercises to music; special vocal and vocal-voice therapy (vocal rehabilitation) exercises using piano — SOVTe exercises; traditional vocal exercises (singing the notes of a scale with an open sound); work using vocalises; work on vocal composition with words.

The specifics of teaching the techniques of conducting gesture in the "Choral conducting" classroom

The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gesture techniques in the classroom in the specialty "Choral conducting", highlights the main aspects and problems of conducting a choral group, and compares the work of a choral and symphonic conductor. The technique of managing a vocal group – an academic, folk or church choir - implies the ability to read scores in different keys, arrange them, and correctly distribute the parts depending on the characteristics of the voices. The choir director also works with the literary text of vocal compositions. It is impossible to do without general musical and theoretical knowledge in the field of solfeggio, harmony, and polyphony. The technique of staging the conducting apparatus and the schedule of the timing schemes practically do not differ among the heads of instrumental and vocal groups. This can be explained by the general nature, the psychology of collective music making. However, we must not forget about the specific features of choral conducting. This is the relative smoothness of gestures due to the different allocation of voices than in the orchestra, as well as the non-use of the conductor's baton. The second important difference between a choirmaster and a symphonic conductor is the need to analyze not only the musical, but also the verbal text of the score. The characteristic of the composer's work is added to the characteristic of the poet's work or the features of oral folk art, if the exact author of the text is unknown. In the work of a chorus conductor, vocal performance is of great importance, which is related to the possibilities of the voice. Choral conducting is more intimate than orchestral conducting. The most obvious synthesis of these arts, which almost completely eliminates all differences, can be noted in the management of both vocal and instrumental groups at once: in operas, cantatas, oratorios.

Ária do pensamento: exploração filosófica através da expressão da música vocal

Abstract: Philosophy significantly contributes to the inheritance of human thought and the humanistic spirit. Traditional explorations in philosophy, often rational and abstract, may struggle to engage deeply with human emotions and experiences. This article delves into the expression of philosophical ideas through vocal music, particularly during the Romantic era, to bridge this gap. By examining the integration of philosophical concepts into 19th-century vocal compositions, the study highlights how vocal music can serve as a potent medium for philosophical discourse. It explores the symbiotic relationship between vocal music and philosophy, analyzing how arias express and pursue philosophical inquiries. This research evaluates the role of vocal music in philosophical exploration through three dimensions: emotional expression, conceptual communication and inspirational impact. The findings aim to demonstrate the transformative power of music to convey philosophical thoughts, inspiring deeper contemplation of life, existence and values, and encouraging a reevaluation of the unique capacity of vocal music to communicate profound ideas.

Manyampai Perwujudan Musik Sirompak di Nagari Taeh Baruah Kabupaten Lima Puluh Kota

Sirompak is a traditional Minangkabau art originating from Taeh Baruah, Limapuluh Kota, West Sumatra. In the past, Sirompak was known as a magical ritual ceremony carried out by a sirompak handler whose aim was to avenge the heart of a woman who had insulted a man. The basirompak performance is a presentation of vocal music called dendang Minangkabau presentation of singing vocal music with the production of a wind instrument called saluang sirompak. This musical instrument is included in the classification of aerophone musical instruments (the main sound is produced by the vibration of blowing air). Traditional musical instruments accompany melodic vocals (dendang/mantras) by a singer (singer). The composition work "manyampai" consists of two parts, using a traditional reinterpretation approach, in the first part of this work using the 'emergent' technique, in the first part the composer provides several repetitive vocal compositions, using the instruments saluang Sirompak, kerinding, cymbals, didgeredo, gong, rain stick. The second part of this work emphasizes the production of several screaming vocals, screams, laughing vocals, animal sounds and crying. This second part also uses the instruments cymbals, gongs, Sirompak saluang

METHODS OF WORKING ON MODERN VOCAL COMPOSITIONS IN THE CHINESE PEDAGOGICAL SYSTEM

The priority in the professional training of future vocalists and teachers of solo singing within the system of university education is the formation of professional competencies ensuring the success of concert performing, vocal and pedagogical activities. A significant part of the general and professional skills of a vocal student is formed while working on vocal compositions of different levels of complexity, different styles and genres. As practice shows, a significant percentage of graduates of higher art education institutions at the beginning of their vocal-performing and teaching careers experience difficulties in studying modern music and choosing appropriate forms, methods and means of its mastering. This problem encourages practitioners to thoroughly and comprehensively consider the methods of working on modern vocal compositions, which contribute to the effective preparation of students for further concert-performing and vocal-pedagogical activities. The article discusses the prospects for introducing the music of Chinese composers into the educational process and basic methods of working on them in the solo singing class.

VOCAL SHASHKEVYCHIANA OF BOHDAN-YURIY YANIVSKYI (FOR THE 180TH ANNIVERSARY OF THE DEATH OF MARKIYAN SHASHKEVYCH)

The article is devoted to the research of the works of Markiyan Shashkevych (1811−1843) – «a true poet with great talent» (Wozniak, 1911, p. 22), whose images and poetics he drew from Ukrainian folk songs. Ukrainian composer Bohdan-Yuriy Yanivskyі (1941−2005), did not miss her attention, creating two vocal masterpieces on the texts of romance. The purpose of the article is to reveal the peculiarities of reading of Markiyan Shashkevychʹs poetry in Bohdan-Yuriy Yanivskyiʹs vocal artefacts, to describe the means of musical expressiveness, their importance in creating an artistic image. Methodology of the research consists in application of musicology approach for implementation of musical and theoretical analysis of vocal works by Bohdan-Yuriy Yanivskyiʹs based on the poems by Markiyan Shashkevych. Scientific novelty. For the first time, two vocal compositions accompanied by a piano («To my darling», «Thought» («The moon dashed in the clear sky…»), the necessity of their introduction into the concert practice, their role in the composerʹs creative heritage are emphasized. Conclusions. Bohdan-Yuriy Yanivskyi has comprehended Markiyan Shashkevychʹs poetry very creatively, interpreting it in a specific way, deepening the meaning, organically combining folk (kolomyjkaʹs) and romance elements with harmonic and rhythmic expressive means of light pop music. The artist brought some naive, sentimental verses of «Galician riser» to the contemporary listener. Vocal Shashkevychiana of Bohdan-Yuriy Yanivskyi takes a worthy place within the artist's compositions. It extends the coordinates of the chamber vocal creativity to words by Markiyan Shashkevych not only in the Ukrainian but also in the Slavic musical scope, confirms a deep understanding of poetry, its subtle composing reading embodied in the musical text.

The Melody of the Text and the Text of the Melody. Weöres – Kodály Analogies

"Sándor Weöres was a significant experimental artist in Hungarian poetry, who often perceived the tonal elements of the Hungarian language as melodies. The musicality of his texts, the rhythmic play of his words finds artistic form in his verses. Zoltán Kodály followed the poet’s poems with 4 4 and literary theory and Sándor Weöres’s affinity for music encouraged a creative-artistic dialogue between the two, which provided the space for a number of masterpieces for both children and adult audience. In our paper, we will look for language-music (text-melody) analogies in Kodály’s works composed to Weöres’ poems. Keywords: Analogical thinking, text and melody, vocal compositions, Sándor Weöres, Zoltán Kodály"

DANCES WITH VOCAL PROTOTYPES IN PIERRE ATTAINGNANTS DANSERIES. ARRANGEMENT TECHNIQUES AND PERFORMANCE PRACTICE

Since the dawn of history dance and music have accompanied people in everyday life and during special events and ceremonies. Even though at present dance is usually associated with a non-professional form of entertainment or a field of art practiced professionally, it has not always been so. In the Renaissance it was not only used for entertainment but it was also a significant part of court etiquette. What is important, dance music creators from that time were often inspired by vocal compositions. Particularly good examples of these dependencies can be seen in some of the titled works included by the Parisian printer Pierre Attaingnant in seven books called Danseries, which were published in the period of 1530-1557, as well as in various lute and keyboard tabulatures. We are referring to such dances in which the melody of the main voice (less commonly tenor or the remaining parts) was based on the music material taken from polyphonic chansons popular at that time.This article is aimed at presenting arrangement techniques that were used in French music of the 16th century by adapting vocal compositions for dance. Considering the fact that the number of this type of compositions is enormous, limiting the research material turned out necessary. The choice of the seven books of Danseries was dictated by stylistic coherence of the compositions included therein as they were written over a relatively short period and most of them have a four-voice texture in order to be performed by different kinds of instrumental ensembles. The entire article has been structured into three chapters. The first chapter discusses the content of subsequent by Danseries books Pierre Attaingnant, with an emphasis on works that have titles as they can show a connection to vocal music. Selected compositions whose prototypes were possible to identify are discussed in chapter two. The goal of the analysis was primarily to determine the dependencies between a formal structure of the compositions and the choreography of individual dances and to point to the similarities and differences between vocal and instrumental versions, also in terms of music expression. The last chapter is supplementary, and it is devoted to selected aspects of performance practice referring to that repertoire, especially the topics of orchestration and ornamentation.

Optimization of vocal singing training method based on intelligent big data technology

Abstract With the advancement of science and technology, the relationship between vocal singing training methods and big data technology is getting closer and closer. The application of training methods is a means of expressing vocal compositions. Emotional expression is the ultimate purpose and meaning of method optimization. Training methods and emotional expression are equally important in vocal singing, and both are indispensable. In this paper, a VSSA-separation model is established based on the Vocal Signal Separation Algorithm (VSSA). Focus on optimizing the training method of vocal singing. Through in-depth discussion of existing works, I try to find its inner influence and outer connection. In order to better understand the grasp and application of vocal singing method and emotional expression balance. It can be seen from the calculation that the image shaping in the song language accounts for 83% of the optimization of the training method. Inverse word processing in song language has a different proportion of the optimization of the training method. It accounts for 71% of English operas. It accounts for only 13% of Chinese operas. Artistic effects have the highest average optimization difficulty among the training methods. Its optimization difficulty is as high as 89%.

Speech and Silence: Encountering Flowers in the Lieder of Clara Schumann

Around a third of Clara Schumann's vocal compositions include references to flowers, whether as passing metaphors or as the principal addressee of her chosen text. At first glance this may seem unremarkable given the central place flowers held in the symbology of Romantic literature. But the survival of documents such as the Blumenbuch für Robert (1854–56), in which she collected flowers from her travels around Europe, demonstrate a personal and distinctly feminine engagement with nineteenth-century floral practices beyond the vegetative poetics of male-authored poetry. This article examines the ways in which Clara Schumann engages with the overlapping floral discourses and media of the nineteenth century in four of her flower-centric lieder: ‘Die stille Lotosblume’, ‘An einem lichten Morgen’, ‘Was weinst du, Blümlein’ and ‘Das Veilchen’. In these songs, flowers are explicitly gendered through their material conflation with women's bodies and relationship to a (typically male) lyric persona. I show how Schumann often uses her piano accompaniments to undermine the male construction of passive flowers by granting flowers an emergent agency in her settings. In so doing, Schumann is able to protect the stubborn silences of flowers or reify their secret desires. Flowers in these lieder thus emerge as radically polysemic and multimodal symbols, not only hinting at a myriad of possible meanings, but also reflecting a mode of feminine authorship that can be recalcitrant, revealing and tactfully mutable.

Atish-e Zaban: The Intercultural Musical Language of Sandeep Bhagwati and the Modalities of the Human Voice

This article is a musical analysis and formal study of Sandeep Bhagwati’s piece, Atish-e Zaban (composed and premiered in 2006). It touches on modalities of composing vocal music and, in particular, aspects of Bhagwati’s methods for creating intercultural encounters and sonic situations. Atish-e Zaban is a comprovisation piece scored for six a capella new music singers based on a series of poems in Urdu by the Pakistani poet, Faiz Ahmad Faiz (1911-1984). This text uncovers layers of Bhagwati’s overall approach to vocal composition, providing an analytic guide for listening and performing, and describing the comprovisation methods used to express the connotations of the poems.

Signs of a New Era: the "Female" Vocal Cycle during the Renewal of Russian Music of the 1960s and 1970s

The subject of the study is the "female" chamber vocal cycle in Russian music of the 1960s and 1970s, which, according to the author, became a special sign of the time of changes and renewal that came to the musical culture of the Soviet Union together with the Khrushchev "thaw". The article is devoted to the typology of the "female" vocal cycle, the appearance of a large number of works based on poems by A. Akhmatova and M. Tsvetaeva, music for children and youth, numerous vocal compositions in the spirit of the "new folklore wave", works dedicated to outstanding interpreters of vocal music by modern Soviet composers - Z. Dolukhanova, L. Davydova, G. Vishnevskaya, E. Obraztsova, E. Gorokhovskaya, N. Yureneva and others. The main conclusion of the study is the idea that there are several stable types of "female" chamber vocal cycles associated primarily with the modern poetic tradition, folk music, with the concert performance practice established in the country, with various vocal capabilities of singers, the width of their vocal range, flexibility, timbre characteristics etc. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful. It is quite obvious that it was the "female" vocal cycle that became the most important sign of the time of the radical renewal of the national musical art in the 1960s and 1970s.

The poetics of Borys Lyatoshynsky’s solo singing in terms of timbre personification of the singing voice

The poetics of Borys Lyatoshynsky’s solo singing in terms of timbre personification of the singing voice

From Choir to String Quartet – Sound Metamorphoses in the Composition of the Work Opt bagatele pentru cvartet de coarde by Adrian Pop

"Among the three string quartets of the Cluj composer, we have chosen to focus on the opus Opt bagatele pentru cvartet de coarde [Eight bagatelles for string quartet] (1996), awarded with the “George Enescu” Prize of the Romanian Academy, and whose ideational, thematic, and dramatic ground is a previous choral cycle of the author, Galgenlieder-Bagatellen (1987), lyrics from Galgenlieder / Gallows Songs by Christian Morgenstern (1905). Notwithstanding the inherent differences between the instrumental and vocal versions, the musical attitudes preserve the predilection and appetence for the vocal composition that Adrian Pop holds so dear, including through the use of certain vocal phonemes, the chromatics of the chordophones in the third bagatelle. The instrumental and chromatic refinement of the eight bagatelles confirms the essential role they play in the creation of one of the most important contemporary composers of Cluj and Romania. Keywords: Adrian Pop, bagatelle, version, transcription, rewriting, contemporary "

Poetics of chamber-vocal creativity of Ch. Gounod: the performing aspect

Formulation of the problem. The study of the national musical tradition in its individual and stylistic manifestations is one of the relevant areas of modern science. To do this, one can apply different coordinate systems, some of which are measured by special phenomena: communicative regularities, emotional and creative energy, synergy, phenomenology of creativity. Among such concepts, a separate place is occupied by poetics, which in the field of musical art has specificity at different levels of creation and existence of a musical composition. From this point of view, it is possible to consider both the newest phenomena of musical art and the familiar ones, such as, for example, the chamber and vocal compositions by Ch. Gounod. The analysis of publications on the chosen topic shows that Ch. Gounod’s chamber and vocal work in musicology has, as a rule, a traditional historical and compositional-stylistic dimension. Its performing profile is not involved, which requires correction of the research situation with the help of the prism of the poetics of creativity – both composing and performing. Moreover, the concept of poetics of musical art is presented by scientists quite powerfully (E. Arefyeva, N. Belichenko, I. Vavshko, E. Nazaykinsky, Yu. Nikolaievska, I. Romanyuk, N. Ryabukha, S. Shchelkanova, J. l. Kreiling, J. Malek, etc.). Therefore, there is a need to update the creative work of composers of the past with the help of characteristics of the poetics of both composing and especially performing creativity. All this determines the scientific novelty of the presented research, which is related to the characteristic of the poetics of the chamber-vocal creative work of Ch. Gounod from the perspective of performing specificity. The purpose of the scientific work is to identify the main parameters of performing specificity related to the poetics of Ch. Gounod’s chamber and vocal creative work. The research methodology is based on a complex combination of several scientific directions: studies devoted to poetics in music in general, as well as in the creative work of individual composers; scientific works related to Ch. Gounod’s creativity. Research results and conclusions. One of the concepts that should be used to understand Ch. Gounod’s vocal style is precisely poetics as a combination of the general parameters of the composer’s style, the figurative and semantic plan of the composition and a complex of specific means of expression, including purely performing ones. The embodiment of the immediate feeling of being in its lyrical perspective of everyday French music in academic genres forms the basis of the poetics of Ch. Gounod’s vocal creative work. The combination of the poetics of academic and everyday vocal art is the core of the poetics of Ch. Gounod’s vocal style, which ensures both simplicity and complexity of its embodiment. Ch. Gounod’s vocal style (both composing and corresponding performing ones) can be defined as a genre style, taking into account the total correspondence to French everyday vocal genres.