Vocal Creativity Research Articles

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 Variant Method of Composition in the Vocal Works by Franz Liszt

"The article is devoted to a variant method of composing music, which became widespread in the composing practice of the twentieth century and has genetic links with the work of Franz Liszt. The variant method is presented as the basis of the composer’s artistic system, as a property of musical logic and form formation. During the functional and structural analysis of the songs of F. Liszt, their typological similarity is revealed, and a classification based on the variant principle of thematic development is proposed. The characteristic of variant-strophic (“An Edlitam” (S. 333; LW. 74)) and variant-phase (“Gebet” (S. 331; LW. №72)) forms is given. The relationship between monothematism and the variant method of composition is revealed. As a result, the genetic connection between the vocal miniature of F. Liszt and the musical art of the 20th century is substantiated. The variant method is presented as a system-forming method at all levels of musical and poetic composition (motif-composition-image-drama-way of thinking). Keywords: variant method, variant form, vocal creativity, composition, the principle of thematic development."

National and patriotic motives in the Vocal creativity of Vitaliy Kyreyko in the 2000s

National and patriotic motives in the Vocal creativity of Vitaliy Kyreyko in the 2000s

Vocal Composition in Creating the Commedia dell’Arte Characters

"The paper presents a possible approach to the construction of a comic character from both a vocal and a verbal point of view, by using various language disorders. For the scenic procedure of language composition, voice and pronunciation as well as rhythm and influence disorders can be important tools for students in their creating a comic character, since these techniques have a significant potential also outside the Commedia dell’Arte. Hence, conscious training and practice of speech/language disorders, such as dyslalia, as well as of rhythm and fluency disorders, develops and improves both the students’ voice usage abilities and their vocal creativity, so that they can manifest themselves artistically in a more expressive way. Keywords: acting, character, training, speech/language disorders, rhythm and fluency disorders, Commedia dell’Arte. "

Vocal creativity: analyzing students song making processes in blended learning

ABSTRACT The study aims to consider the issues of vocal creativity by analyzing students’ song-creating processes. To achieve this goal, survey methods were used. They greatly contributed to the determination of the important data. The survey demonstrated that among all styles of musical compositions, students give the greatest preference to folk and classical Chinese compositions. The results also showed that only 7% of the research participants had previously created their own musical compositions while 68% of students do not possess such a skill. These data contributed to the development of training recommendations for creating one’s own musical compositions based on the study of historical features of folk and classical Chinese songs, characteristic elements of texts and melodies, as well as to the development of improvisation skills and expressiveness formation. At the end of the training course, it was determined that the musical composition creation quality was almost identical, which was confirmed by the Student’s t-test. The study also showed that, in the musical composition creation, the poetry writing level (58%) is higher than that of music writing (42%). The results obtained are important for rising musicians who seek to get better at musical compositions.

Vliyanie M. Balakireva na osobennosti traktovki fortepiannoj partii v romansah S. Lyapunova

This article offers a special perspective on the vocal creativity of S.M. Lyapunov - from the point of view of the creative influence of M.A. Balakirev on him. The artistic and aesthetic aspirations of the “Mighty Bunch” were close to Lyapunov and were reflected in his works. These points of influence are considered in the article on the example of a number of Lyapunov romances from the point of view of the specifics of the embodiment of various poetic images and features of accompaniments, which reflected the “Balakirev-Lyapunovpianism” (B.V. Asafyev).

«Home Songbooks» by S. Monіuszko and Spiritual and Ethical Aspects of the Biedermeier Culture

The purpose of the study is to reveal the genre-stylistic specificity of S. Monіuszko’s cycle “Home Songbooks” in the context of the spiritual and stylistic instructions of Biedermeier’s art, including in his Polish “model”. The methodology of the work is based on general scientific and special methods, among which intonation-stylistic, historical-cultural, genre-stylistic methods in their complex application are essential. The scientific novelty of the work is determined by the fact that it summarises for the first time the genre-stylistic specificity of S. Monіuszko’s “Home Songbooks” cycle in the context of Biedermeier’s typological features and his Polish “hypostasis”. Conclusions. The creativity of S. Monіuszko is an important component of Polish musical culture of the middle of the 19th century, which developed at the intersection of typological signs of romanticism and Biedermeier. The specificity of the latter, presented in almost all European cultures of the mentioned period, including the Polish one, is focused on the revival of spiritual patriarchal guidelines for human existence, on the reproduction of “life imbued with religiosity”. In the artistic and musical sphere, Biedermeier’s typology appeals to the typical and generally significant, to various forms of amateur music-making or to their stylisation. Within the framework of Polish culture, his instructions interact with the signs of Polish nobility and Sarmatism, as well as with the traditions of the national song and dance culture. The large-scale series “Home Songbooks” by S. Monіuszko was created on the basis of the best examples of Polish (A. Mickiewicz, S. Witvytskyi, J. Chechot, L. Kondratovych, etc.), as well as European poetry of various eras (J. Goethe, H. Heine, V. Hugo, V. Scott, J. Byron, V. Shakespeare). It includes about three hundred songs and is oriented to the artistic demands of a family circle or salon gathering, carries a spiritual and educational burden, reproducing the Polish “image of the world” and its ethical values.
 Key words: Polish musical culture of the 19th century, chamber and vocal cycle, chamber and vocal creativity of S. Monyushka, “Home Songbooks” by S. Moniushko, Biedermayer, Sarmatism.

A New "sounding image" of the Piano in the Domestic "Female" Vocal Cycle of the 1960s and 1970s

The subject of the study is a new "sounding image" of the piano in the chamber-vocal cycles of Russian composers of the 1960s and 1970s. The chosen perspective is "female" vocal cycles, i.e., those that should be performed exclusively by female voices. The author examines the piano parts in the vocal cycles of B. Tishchenko, D. Shostakovich, A. Knaifel, A. Schnittke, E. Denisov, G. Banshchikov, V. Gavrilin and other Russian masters, reveals the new, original, fresh that they brought to the music of piano accompaniment in the wake of the Khrushchev "thaw". First of all, in the field of texture, rhythm, avant-garde performance techniques, timbral-register organization of musical fabric. The main conclusion of the study is the idea that the fruitful synthesis of the achievements of the European avant-garde and domestic experience led to the emergence of a new "sounding image" of the piano in Soviet music of the 1960s, which was fully in demand in the vocal cycle. Each of the composers followed his own unique path in art, individually refracted tradition, but the overall panorama of musical art, chamber vocal creativity turned out to be rich and saturated with outstanding achievements. The novelty of the study lies in the fact that the piano accompaniment of the Russian vocal cycle was first subjected to a separate and fairly broad analysis.

Vocal Cycle «From Songs of Hiroshima» by Ivan Karabyts: Dialogue of Cultures of East and West

The article is devoted to the problematic issue of the genre-style interaction of the musical traditions of the East and the West in Vocal cycle «From songs of Hiroshima» by Ivan Karabyts. The relevance of the research is in the fact that the phenomenon of genre-style interaction between the traditions of the East and the West in the chamber-vocal works of Ukrainian composers of the second half of the 20th century remains little studied in art history. Therefore, the purpose of the study is to identify the genre-style dominants of the vocal cycle «From Songs of Hiroshima» by Ivan Karabyts in the aspect of the dialogue between the cultures of the East and West. Research methods include historical – for the study of scientific sources dedicated to the work of Ivan Karabyts; stylistic – allows to systematize some of the features of the composer's style of Ivan Karabyts, in the context of chamber vocal creativity; semantic, with the help of which the content component of poetic images in a cycle is analyzed; structural and functional – to identify intonational and stylistic features of the cycle; comparative – to compare the musical specificity of the Eastern and Western traditions in the cycle; generalization – necessary to summarize the results of the study. Conclusions: For the first time in world musicology, the vocal cycle «From the Songs of Hiroshima» by Ivan Karabyts has been studied in the aspect of the dialogue between the cultures of East and West. The analysis revealed the reception of stylistic and genre elements of the Eastern tradition on the basis of chamber-vocal creativity of Ivan Karabyts. The article presents a detailed analysis of the vocal cycle «From Songs of Hiroshimaby Ivan Karabyts in the genre and stylistic aspect on three levels: semantic, stylistic and architectonic. The semantic level assumes getting familiar with the philosophical ideas of Buddhism, Taoism, Confucianism. The stylistic level involves borrowing not only individual ideas or musical motives, but also the religious and spiritual code in general. Oriental flavour (intonation, rhythm, meter, timbre, register). It can be seen through the reflection of stylistic features associated with the Oriental tradition, due to the use of the Oriental way of thinking (contemplation, intuition, meditation) and flavour (intonation, rhythm, meter, timbre, register). The architectonical level provides for the creation of new art forms. It was revealed that along with the traditional features of Japanese music, Ivan Karabyts used forms of musical expression that were new for the middle of the twentieth century: aleatorics, sonoristics, dodecaphony, pointillism. The cultural dialogue of Eastern and Western musical traditions in the vocal cycle «From Songs of Hiroshima» by Ivan Karabyts demonstrates a new aesthetic paradigm of musical art of the second half of the twentieth century, which represents a phenomenal artistic and musical metalanguage – Eurasian. The analyzed cycle became, firstly, the embodiment of the composer's personal artistic search, and secondly, a reflection of the artistic tendencies of Ukrainian culture in the second half of the 20th century.

Vocal Creativity in Elephant Sound Production.

Simple SummaryElephants are known for their complex vocalization system and for being able to imitate sounds. Here, we show that African elephants apply unusual and individualistic sound production mechanisms to generate idiosyncratic sounds. These sounds are produced by manipulating non-phonatory structures, e.g., applying an ingressive airflow at the trunk tip to emit extraordinarily high-frequency sounds or repeatedly contract superficial muscles at the trunk base to generate lower-frequency pulsated sounds. Intriguingly, each individual establishes its own distinctive sound-producing strategy (e.g., contracting different muscle bundles). The production of these sounds on cue is encouraged via positive reinforcement training. This suggests that social feedback and reinforcement can facilitate vocal creativity and learning behavior in elephants. Social interactions and positive feedback are also crucial for early speech learning in human infants. Increasing knowledge on sound production plasticity in elephants—long-living, highly social mammals—is crucial in the effort to better understand their communicative and vocal learning ability and its function in wild elephant populations.How do elephants achieve their enormous vocal flexibility when communicating, imitating or creating idiosyncratic sounds? The mechanisms that underpin this trait combine motoric abilities with vocal learning processes. We demonstrate the unusual production techniques used by five African savanna elephants to create idiosyncratic sounds, which they learn to produce on cue by positive reinforcement training. The elephants generate these sounds by applying nasal tissue vibration via an ingressive airflow at the trunk tip, or by contracting defined superficial muscles at the trunk base. While the production mechanisms of the individuals performing the same sound categories are similar, they do vary in fine-tuning, revealing that each individual has its own specific sound-producing strategy. This plasticity reflects the creative and cognitive abilities associated with ‘vocal’ learning processes. The fact that these sounds were reinforced and cue-stimulated suggests that social feedback and positive reinforcement can facilitate vocal creativity and vocal learning behavior in elephants. Revealing the mechanism and the capacity for vocal learning and sound creativity is fundamental to understanding the eloquence within the elephants’ communication system. This also helps to understand the evolution of human language and of open-ended vocal systems, which build upon similar cognitive processes.

Діалог культур як синтез мистецтв: досвід формування інтегративної поетики в сезонах Сергія Дягілєва

The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures as a synthetic choreographic and musical image. Rerich's scenery introduces another cultural allusion - images of the East. The philosophical meaning of interpretation is the ideological definition of synthetic artistic image as a cultural dialogue. Theoretical works and memoirs of I. Stravinsky and S. Lifar testify that there was a certain school of growth in the stage space of the Seasons. Young people quickly became leading dancers, and then created their own choreographic school – "cubist" in Bronislawa and Waclaw Nizynski, "media" – in Lifar. I. Stravinsky became the founder of a new type of synthetic-type scenicism, where the musicality and picturesqueness of plastic exercises turned into large canvases of various genres – folklore, impressionist, expressionist counterpoint. The philosophy of modern art education in the field of music, choreography and vocal creativity encourages the cultural and historical reconstruction of the experience of leading artists who created unsurpassed masterpieces of European culture in the early twentieth century.

ROMANCE IN CHINESE MUSIC OF THE OPEN PERIOD: FROM ROMANCE TO KUNSTLIED AND ARTISTIC SONG

The purpose of the article is to identify ways to form and develop the national Chinese art song "period of openness". The article reveals the ideas of the origin of the national romantic musical and poetic genre, features of the German Kunstlied, Chinese romance in the "period of openness" (from Romance to Kunstlied and artistic song). The interaction of traditional Chinese and Western European music systems, in which pentatonics are organically combined with classical-romantic harmony and uniform accentuation, is studied. The research methodology involves the application of a systematic approach, as well as methods of analytical, comparative, art, using which on the examples of Chinese art song "openness period" (composers Luo Zhongzhong, Li Inha, Lu Tsai-i) analyzes the process of assimilation of national traditions in chamber and vocal creativity of Chinese composers, which found expression in the accentuation of articulatory and phonetic features of the pronunciation of the verbal text, the folk throat manner of singing, the interpretation of the voice as a color paint. The regional specificity of Chinese romance is considered on the example of the songs "Returning to Mount Qingshan" by Zhang Lizhong, "You will like it" by Shi Xin. The scientific novelty of the work is to identify transformational changes in Chinese music of the twentieth century. based on the peculiarities of the refraction of European new compositional techniques (dodecaphony, serialism), which is reflected in the romances of Chinese composers "New Wave" or "national Chinese musical avant-garde" (Luo Zhongzhong, Chen Mingzhu, Zhu Jianyer). Conclusions. The study found that the "period of openness" for China was a time of reform and change in all spheres of life, including the art of music. The basis for the creation of a national romantic musical and poetic genre was the German Kunstlied, whose principles were in tune with the aesthetic foundations of classical Chinese art. Changes in creative concepts in Chinese music based on musicians' awareness of the possibility of a subjective approach to art. Their figurative and semantic kinship became the key to the formation and approval of the national-genre foundations of Chinese artistic song. The ways of spreading and popularizing Chinese art song in the context of the idea of ​​the festival-competition movement are also determined.

On Dramaturgy of Russian Romances of S.V. Rachmaninov

The relevance of the study is determined by the fact that the main field of Rachmaninov’s vocal creativity was lyrics, the world of personal feelings and moods. In its origins, it is associated mainly with Tchaikovsky’s legacy, which is also manifested in the general emotional “openness”, sincerity and immediacy of expression, and in some more specific stylistic characters. The novelty of the study determines that, like Tchaikovsky, Rachmaninov sought above all to capture the basic mood of a poetic text in a bright melodic image, showing it in growth, dynamics and development. Therefore, there are those long lines of rise, growth and pathetic climax, which Rachmaninov’s romances abound with. The authors show that he did not miss the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary permutations of words or repetitions that violate the form of the verse, his vocal declamation, as a rule, is accurate and distinct. In this regard, he was quite at the level of his time – the era of the highest, most refined poetic culture. The practical significance of the research is determined by the fact that the study of the heritage of the art of Rachmaninov will be important for the general study of the flow of musical culture of the period under study.

Розвиток дитячої вокальної творчості крізь призму професійної діяльності Оксани Лісовської

Research objective of the work is to highlight the process of development of children’s vocal creativity through the prism of professional activity of the famous Carpathian pedagogue Oksana Lisovska, to outline the main approaches to working with children, to reveal the versatility and diversity of the profession of musician-teacher. The research methodology is based on the application of a systematic approach, methods of analysis and synthesis, systematization of theoretical data and interviews. A comprehensive analysis of Oksana Lisovska’s professional activity on the development of children’s vocal creativity is carried out in the work and the role of the teacher’s personality in the creative formation of the younger generation is investigated. The scientific novelty is that for the first time in the scientific literature the creative contribution and pedagogical activity of the Ukrainian singer, composer, pedagogue, journalist, TV presenter, Honored Worker of Culture of Ukraine Oksana Lisovska on the development of children’s vocal performance is outlined. Conclusions. Children’s vocal performance is a unique wealth of spiritual culture of the Ukrainian people, a source of development and multiplication of modern musical culture. In the process of interaction of the teacher with the pupils in the field of musical performance there is a formation of personal qualities of children and development of socially acceptable skills and abilities. The profession of vocal teacher is an inseparable unity of pedagogy and vocal art, and requires a wide range of general pedagogical and special abilities. For the proper development of these abilities, active creative activity is necessary, which not only contributes to the identification of already formed, but can also discover the potential abilities of the pupil and further develop them. The experience of Oksana Lisovska, who recently celebrated the 20th anniversary of her activity in the exemplary vocal studio “Lira” at the Palace of Culture “Mineral” (Kalush), shows that the profession of musician-teacher embodies not only the presence of professional training, but also the mastery of a creative approach to work with students, taking into account the diversity of the creative process based on individual, age and musical and vocal abilities of students.

Вокальное наследие А.С. Даргомыжского в аспекте музыкально-исполнительской и педагогической практики композитора

The necessity of studying the stylistic features of A.S. Dargomyzhsky’s vocal creativity is substantiated to understand the relationship between music and words in works for voice and pi-ano, as the actual content of the process of developing competencies necessary for the pedagogical and concertmaster activities of graduates of a music and pedagogical university. The necessity of using the pedagogical component in the study of the concertmaster activity of composers, authors of chamber vocal and opera works has been proved. The main performing techniques of A.S. Dargomyzhsky, developing the principles of representatives of the Russian vocal school, are analyzed. We show the general and distinctive features in the methods of vocal teachers of other national schools: Italian, French, German. An understanding of the role of the creative union of singers and accompanists in the embodiment of the artistic content of musical works is formed. A.S. Dargomyzhsky’s innovative interpretation of traditional vocal genres led to the subordination of the means of musical expression to the main goal – to reveal the meaningful storyline of songs and romances. A parallel is drawn with the formation of performing and pedagogical principles in modern musical culture. The conclusion is made about the dominant role of artistic content in the performing interpretation of musical compositions, as the priority of the activities of musicians-teachers and performers of our time.

ДО ПИТАННЯ ІСТОРИКО-КУЛЬТУРНОГО РОЗВИТКУ КАМЕРНО-ВОКАЛЬНИХ ФОРТЕПІАННИХ ТВОРІВ

One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.

Жанрово-стильова специфіка камерно-вокальної творчості С. Василенка

The purpose of the work is to identify the poetical of S. Vasilenko’s vocal heritage in the context of the traditions of Russian musical culture of the first half of the twentieth century. The methodological basis of the work is based on general scientific and special methods, among which the intonational-stylistic methods inherited from B. Asafiev and his followers, historical-cultural, genre-style, biographical, analytic-musicological methods in their complex application are essential, which together makes it possible to study poetics of the chamber-vocal heritage of S. Vasilenko in the context of Russian culture of the first half of the twentieth century. The scientific novelty of the work is determined by the fact that for the first time the genre-style specificity of the chamber-vocal creativity of S. Vasilenko is generalized in the foreshortening of the general evolutionary paths of the development of Russian musical culture of the indicated period. Conclusions. S. Vasilenko is an outstanding composer, conductor, teacher, folklorist, musician-educator who inherited the best genre and stylistic traditions of Russian music of the past. At the same time, he made a valuable contribution to its subsequent development within the framework of the culture of the first half of the twentieth century and the genre-style attitudes of Russian Art Nouveau. The sphere of chamber-vocal creativity of S. Vasilenko (over 200 compositions), covering all periods of his creative activity, has absorbed the most characteristic genre-style tendencies inherent in the composer’s creative method, focused on the academic direction of Russian culture and music of the first half of the twentieth century. The early period of vocal creativity of S. Vasilenko is characterized, on the one hand, by the inheritance of the best traditions of Russian chamber-vocal lyric poetry of the 19th century, including the traditions of P. Tchaikovsky and N. Rimsky- Korsakov (romances op. 2). At the same time, the poetics of his vocal work is closely connected with the traditions of Russian symbolism, and until the early 20s appeals to the worldview and poetry of A. Blok, S. Gorodetsky, V. Bryusov, K. Balmont, I. Bunin, M. Lokhvitskaya, I. Severyanin, S. Soloviev and others (op. 13, 16, 26, 40, etc.). The 20s in the activities of S. Vasilenko are also marked by a growing interest in folklore, international and oriental topics. The above is consistent with his compositions “Japanese melodies” (op. 49 a, 1924), “Hindu melodies” (op. 51), as well as with the cycle “3 Sinhalese melodies” (op. 55, 1926), etc. Finally, in mature period of creativity S. Vasilenko at a new stage of his creative evolution returns to the traditions of Russian folklore, creating two cycles based on adaptations of Russian folk songs (op. 61, 107), focused on a wide genre spectrum – from the ancient Slavic archaic and epic-historical songs, buffoonery up to ditties.

Творчо-педагогічні аспекти інтерпретаційної компетентності вокаліста

Relevance of research. Performing training of a modern vocalist takes place in the conditions of formed contradictions between the narrow orientation of his professional education and new social demands today both to the style of performance of vocal works and to the level of skill of the musician. Such contradictions are most clearly revealed in the assessments of the system of requirements for the modern academic vocalist in different vocal schools, as well as in the comprehensive assessment of the requirements for music education today in general. Modern vocalists, who are at the beginning of the process of forming competencies necessary for quality professional vocal performance in the future, face the need for proper organization of educational processes, taking into account the necessary component of vocal creativity – the ability to interpret the author’s idea in performance. The correct organization of educational processes of a modern vocalist involves not only the structuring of educational processes, but also, more importantly, the content of these processes. The aim of the work is to analyze the general aesthetic and educational components as the primary basis for the formation of interpretive skills of the vocalist. The scientific novelty of the work is a look at the interpretive potential of the vocalist as a creative and pedagogical problem, which is based on general aesthetic and educational components. The methodology of work consists of: general philosophical methods – analysis, synthesis, justification; practical methods – comparison, observation. Conclusions: analysis of the peculiarities of vocalist education in the modern education system and modern professional challenges makes it possible to substantiate the natural connection of general aesthetic and educational aspects in the formation of interpretive skills of the vocalist; to find out the interpretive potential of the vocalist as a result of joint work of the student and the teacher in the general humanitarian sense; to consider the formation of the aesthetic nature of the performing complex of the vocalist as one of the basic structures of professional music education. Conclusions are of practical importance for teachers of educational institutions where future vocalists are trained, trained and educated, as well as for vocalists who, by the nature of their professional activity, are constantly faced with the urgent need to reflect in musical works and musical works. creative worldview.

Review and characteristics of V. Kosenko's piano works of the Zhytomyr period of the master's work

Objective. The piano works of V. Kosenko within the Zhytomyr period of the master 's work are described in the article. Substantiated that the artist's attention was attracted by various spheres of human life and activities: political and civic pathos, labour romance, spiritual world of the contemporary. The research methodology is presented by application of the historical and logical method of data analysis in order to reveal the retrospective data set of the repertoire of V. Kosenko's work as a performer within the Zhytomyr period. Scientific novelty. The work of the chamber trio (Kosenko – Skorokhod – Kolomoytsev) was evaluated. Works written by V. Kosenko during the Zhytomyr period of activities are analyzed. It is established that at the end of the Zhytomyr creativity period serious changes in the intonation sphere of V. Kosenko’s music are noticeable, in particular he increasingly turns to folk sources. The composer managed to leave his unique mark in the development of almost all forms of Ukrainian musical culture. It is proved that the instrumental works of V. Kosenko's great form, created during the heyday of his work, are represented by autographs of such symphonic works as the Heroic Overture for Grand Symphony Orchestra op. 21, which was included in the golden fund of Ukrainian music, and the Symphonic poem on Moldavian themes op. 26; concerts for solo instruments with orchestra: autographs of L. M. Revutsky and G. I. Maiboroda c-moll concerto for piano and orchestra op. 23, who orchestrated it on Kosenko's piano; piano and drafts of the score of the concerto cis-moll op. 21 and B-dur concerto for piano and orchestra, a-moll concerto for violin and orchestra op. 6 edited by G. I. Maiboroda. Conclusions. It is established on the basis of significant facts that V. Kosenko's music within the Zhytomyr period of creativity was marked by a new genre orientation. Since the late 20's chamber instrumental and vocal creativity has given way to mass genres of music (song-choir, solo songs on current civic themes, march songs for brass band, choirs, harmonization and arrangement of folk songs, children's repertoire for performance in music schools and, finally, orchestral works). Such changes were almost, certainly, were caused by the need for a direct "conversation" of the composer with a new audience.

The educational role of small forms ensembles in the personality development of a beginner singer

The purpose of the article is to review the available literature on this issue; generalize the provisions presented in the found sources; analysis and systematization of these works. The methodology consists of the study and analysis of the vocal-pedagogical and musicological source base, comparison, and generalization of the problem, which allows the formulation of conclusions. The scientific novelty of the article is in the study of the aspect of ensemble singing, namely its educational influence on a beginning singer. The article offers the author’s view on the benefits of ensemble singing and formulates and substantiates its educational potential in the process of becoming both a professional musician and a harmoniously developed personality of the singer. Conclusions. In the process of analysis of existing works the educational impact of the beginning singer’s participation in ensembles of small forms was classified as one that becomes a catalyst of changes in the psychological sphere (intellect, creativity, imagination, memory, attention, etc.), personal-physiological (ability to work, will, purposefulness, physical qualities necessary for vocal creativity) and socio-cultural (singing culture, personality culture, enrichment of musical horizon, spiritual culture, ability to work in a team, feeling part of a team, respect for other team members, etc.). The advantages of ensemble singing in comparison with individual and choral singing are formulated. The educational role of ensembles of small forms on beginner singers is offered in two planes: general educational (this is about of formation of a number of personal and physiological features and qualities which, on the one hand, are directly connected with musical activity, and on the other, are factors of success of any other activity) and musical educational (those qualities that promote to the development of special musical abilities, form specific musical skills).