Vocal Improvisation Research Articles

THE IMAGE OF JAZZ IN UKRAINIAN POPULAR MUSIC AND THE SIGNIFICANCE OF SUBCULTURES IN IT

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music . The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music.

Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing"

This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.

IDIOSYNCRATIC ELEMENTS IN MUSIC-RELATED GESTURE-SOUND RELATIONSHIPS: A HINDUSTANI DUET PERFORMANCE ANALYSIS

This study investigates the correlation between body movements and the voice in the context of North Indian Classical (or else Hindustani) vocal music, specifically focusing on its Dhrupad subgenre. In particular, it examines manual interactions with imaginary objects (MIIOs) commonly observed among vocalists, including actions such as stretching, pulling, pushing, and throwing, as well as the physical effort exerted on these occasions. The analysis employs video observations of originally recorded audio-visual material from a Dhrupad vocal improvisation performance. A previous association analysis conducted between MIIO gesture classes, perceived effort levels, and melodic aspects revealed a certain level of consistency among the two vocalists, albeit with individual variations revealing an idiosyncratic aspect in the way these gestures might be expressed. Given that the selected performers (brothers, Umakant and Ramakant Gundecha) share the same musical background and experience and that they are recorded singing in duet in a single performance of the same melodic mode (raga), instead of examining their common gesturing manners, the current paper focuses exclusively on the idiosyncratic deviations in gesturing habits observed between the two brothers and the associations of these gestures to their melodic counterparts. The analysis relies on quantitative statistical methods of pertinent movement and acoustic features, and the results yield valuable insights in ethnomusicology and embodied music cognition. They additionally offer crucial guidance on the use of music technologies and motion capture methods to develop quantitative approaches that complement existing qualitative methodologies.

Investigating a Vocal Improvisatory Genre (Mawwāl) in Arab Music: a Case Study of a Mawwāl Performance by Wadī‘ al‐Ṣāfī

ABSTRACTAlthough recent decades have witnessed a significant growth and expansion of studies dealing with the performing practice of Arab music improvisation, most such studies are focused on instrumental, not vocal, performing practices. As a result, Arab vocal performing practice, especially that of vocal improvisatory genres, still lacks a comprehensive theoretical approach. In this article I examine the maqām (Arab modal framework) phenomenon by analysing a piece in its pre‐eminent improvisatory genre (mawwāl) composed and performed by an eminent musician: mawwāl ‘Ṭal al‐Ṣabāḥ’ by Wadī‘ al‐Ṣāfī. Most vocal improvisation is presented in Arab music literature without a defined or definite melodic (or rhythmic) structure. I posit that the mawwāl genre has defined and quasi‐defined structures on the macro and micro levels of the piece, since a major part of those structures is manifested as recurring, defined compositional devices and interrelationships throughout the piece within the improvisational frame of the mawwāl genre, a reflection of its structural intricacy. This article thus contributes to the existing literature on classical Arab vocal performance by implementing the theory of natural schemata as an analytical framework along with a structural analysis based on a detailed descriptive transcription of the piece, and thus characterising the largest and smallest strata of musical structures in the mawwāl genre.

Vocal phrasing and interplay in jazz improvisation – a comparison between principles of improvising on Swing and Bossa Nova

While improvising follows the same rules for singers, as well as instrumentalists, there are a few aspects that are to be taken into consideration when improvising in different genres as a jazz singer. The uniqueness of the instrument itself, with no comparison with any other instrument or voice, requires a personalized approach in accompanying a singer as well, while a deep understanding of the importance of balancing the lead melody with the chords and the rhythms in the accompaniment is paramount. To accompany a vocal improvisation means to support the melody created right above and just underneath the fingers of the accompanist. To improvise with an accompanist on swing is the opposite approach of improvising on bossa-nova while respecting the origin of the latter, which is jazz itself. The mastery of this undertaking is to be discussed herein.

Vocal Improvisation in Rock Music

The purpose of the paper is to highlight the peculiarities of vocal improvisation in rock music. The historical and theoretical aspects of the research problem are characterised, the works of famous rock singers whose vocal improvisation has become an integral part of their musical activity are analysed. Research methodology. To achieve this goal, a set of methods was used, namely: general scientific methods – analysis, synthesis, generalisation, systematisation – were used to develop the problem; specific scientific methods: historical-genetic and retrospective analysis, which clarified the formation and development of rock music; comparative and contrastive analysis, which was used to outline vocal improvisation in rock music; biographical method, which was used to analyse vocal improvisation in the activities of famous rock singers. The scientific novelty lies in the fact that for the first time the features of vocal improvisation in rock music are presented. Conclusions. The article focuses on the concept of “vocal improvisation” (the process of creating music with the voice without pre-prepared musical or textual materials), reveals its essential aspects in rock music, which are hidden in a special tension, energy, emotional load, melody, smooth transitions between notes, the use of a rough voice, special effects such as echo, reverb, vocal filters. The features of vocal improvisation are analysed on the example of the works of Freddie Mercury (rock band “Queen”), Robert Plant (rock band “Led Zeppelin”), Steven Tyler (rock band “Aerosmith”). It has been found that a wide vocal range, the use of high notes, spontaneous vocal phrases and sounds are characteristic of Freddie Mercury (“Bohemian Rhapsody”, “Galileo”, “Someone to Love”). Whereas strong, expressive vocals and the ability to vary vocal riffs characterize Robert Plant (“Whole Lotta Love”, “Dazed and Confused”, “Black Dog”) and Steven Tyler (“Dream”, “Sweet Emotions”, “Mama Kin”). The focus is on vocal improvisation in rock music of the early XXI century, which is characterized by eclectic styles, the use of technology, and variations in lyrics. Keywords: vocals, improvisation, music, rock, vocal improvisation, rock music, rock band.

Vocal Improvisation – A Cognitive and a Psychological Process

"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process"

Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta

Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lecturer of popjazz vocal practice in the Music Presentation Study Program has observed the difficulties experienced by the majority of students. Several stages of learning have been applied in the learning process, for example by understanding scales and chord patterns, developing the main melody in songs, enriching vocal dialects, to multiplying musical references. This stage of learning was not significantly successful in helping students master scat singing. This study aims to formulate a learning method of vocal improvisation techniques for scat singing. The data collection process is carried out by observing the learning process during lectures, interviews with students, and regular singing practice. Inductive qualitative data analysis, which is an analysis based on the data obtained then developed a certain relationship pattern or hypothesis. The research was conducted by qualitative methods, with the final result being a descriptive sentence formulation of steps to master the vocal improvisation technique of scat singing. This conclusion is expected to be an overview for lecturers in order to determine the right approach to help students master scat singing and dare to apply it in songs.

Correction to: The Voice Essential: Exploring Oral Traditions in the Study of Vocal Improvisation

Correction to: The Voice Essential: Exploring Oral Traditions in the Study of Vocal Improvisation

The Voice Essential: Exploring Oral Traditions in the Study of Vocal Improvisation

Abstract The voice—from the utility of oral traditions to the pedagogy of singing as performance—is essential to the human experience, yet its use of it has become the narrow purview of those privileged enough to study or make a career out of teaching or performing. In this article, the authors lend unique perspectives on the voice as an instrument of tremendous capacity by providing a lens on its utility in oral traditions. Lullaby, chants, work songs, and vendor songs as specific oral traditions offer entry points to understanding vocal utility that synthesizes both practicalities with aesthetics. Their study within the context of vocal improvisation offers much value to those seeking an understanding of the voice’s potential and for those whose access and comfort with their own voice has been diminished. Such liberation afforded by the exploration of these oral traditions can inform the work of music therapists, voice coaches, students, and everyday singers.

Peculiarities of Teaching Jazz Improvisation for Pop Singers of Music Colleges

The purpose of the article is to reveal the historical aspects of the formation of jazz as one of the directions of musical art; to find out the meaning and essence of the concepts "improvisation" and "vocal improvisation" in modern musicology and music-pedagogical literature; to determine the pedagogical conditions that contribute to the successful formation of jazz improvisation skills among music college students in the pop vocal class; to identify, theoretically justify, and describe the pedagogical conditions for the formation of jazz improvisation skills among music college students in the pop vocal class. The research methodology consists in the application of such methods as empirical method, analogy method, axiomatic method, elementary-theoretical method, and method of systematisation. The scientific novelty lies in the fact that for the first time the problem of formation of jazz improvisation skills among students of music colleges specialising in pop singing is revealed. Conclusions. The theoretical analysis of the research problem and the results of the research work made it possible to draw the following conclusions. The analysis of scientific literature made it possible to reveal such concepts as "improvisation", "improvisation of pop singer", "sket". Improvisation is a simultaneous performance of music without prior preparation, a spontaneous musical expression, and a direct, instant realisation of a musical thought. The definition of pop vocalist improvisation has also been given. It is a creative process of forming a musical and artistic image at the moment of direct vocal-syllabic intonation of a musical and literary text (sket singing), the essence of which is the knowledge, reproduction and dissemination of objectively and subjectively new use of generally accepted compositional combinations and the introduction of original scat-vocal compositions, original jazz phrasing, swing, accentuation and new articulation. The specificity of this process consists in special methods of sound creation, the use of a wide range of timbre colours and sound imitation elements within the framework of the structural scheme of the work. Research work has shown that the formation of jazz improvisation skills among students of a music college in the class of pop vocals is impossible without the creation of appropriate conditions, in this case pedagogical ones. These conditions include teacher-student communication, various methods, and exercises that affect the quality of formation of jazz skills improvisations. Thus, the inclusion of students in creative activities, the use of various methods in working with students contributes to the manifestation of positive dynamics in the formation of jazz improvisation skills among music college students in the pop vocal class. High indicators are associated with the successful organisation of classes, the use of various methods aimed at the formation of jazz improvisation skills among music college students in the pop vocal class. Key words: vocal pedagogy, vocal improvisation, pop music, jazz, improvisation, swing, pop singing

University Training of Professional Jazz Vocalist

The purpose of this article is to form a systematic approach to the issue of choosing methods and forms of work with students who study pop-jazz vocals, as well as to form a complex of professional competencies in pop-jazz art: impeccable knowledge of theory, mastery of professional vocal pop-jazz technique, necessary manner of sound production, improvisation, and purity of intonation. The research methodology consists in the application of such methods as verbal (conversation, narration, explanation, and discussion), visual (visual-auditory, visual-visual, and illustration), practical (microteaching and exercises) and problem-heuristic (modeling problem situations and pedagogical improvisation). We see the scientific novelty of the problem and, accordingly, of this work in the scientific-methodical justification and practical implementation of the process of training jazz singers and pop-jazz vocal teachers, taking into account known methods and an individual learning route for each student. Conclusions. On the basis of the set goals and objectives, the author comes to the conclusion that by the end of the course of study within the framework of the bachelor’s program, students of the Educational and Scientific Institute of Culture and Arts of Taras Shevchenko National University of Luhansk have mastery of jazz performance, professional qualities of a jazz performer and teacher of pop-jazz vocals, have a high level of professional competence in jazz vocals. Thanks to the formation of a systematic approach to the issue of the choice of methods and forms of work with students studying pop-jazz vocals, as well as the gradual formation of a complex of professional competencies in the field of pop-jazz art, students have an impeccable knowledge of theory, possess a professional vocal pop-jazz manner of sound production, improvisation, and pure intonation.
 Key words: vocal pedagogy, vocal improvisation, pop music, jazz, improvisation, swing, pop singing.

Health and Development Aspect of Performance Training of Future Teachers-Musicians

The ways of optimizing the professional training of future music teachers are explored in the article. The purpose of the article is to actualize the direction of musical performance of future teachers-musicians in the direction of health and development. The research methods used were the methods of theoretical and critical analysis, synthesis, abstraction, concretization, etc. Results. The authors of the article states that it is generally known that the traditional performing training of music teachers consists of intellectual-cognitive, creative-interpretive and operational-performing components. In the conditions of the post-war period, the musical and recreational component of the performance training of future teachers-musicians acquires special relevance. The health component is formed thanks to the improvised (spontaneous) musical performance activity and the strong-willed mood of the performer. The authors has defined that the methodical techniques of instrumental improvisation are: spontaneous music-making on elementary musical instruments, rhythmic accompaniment of well-known musical compositions, improvised musical accompaniment of fairy tales, performances, creation of images of nature (noise of rain, forest, gurgling stream, etc.). The methodical exercises of vocal improvisation include vocal questions and answers, musical conversation, dialogue, exercises for completing a certain melodic phrase or a well-known melody, songs, chants, etc. The skill of rhythmic improvisation is formed with the help of various methods and techniques of «playing on the body» – body percussion. The development of volitional self-regulation during performing activities is achieved by playing or singing in front of an imaginary audience, in an ensemble. It is also achieved by increasing the experience of concert performances on various stage venues, psychological attitude to success, putting up an imaginary «wall»; between the performer and the listeners, verbal and figurative suggestions, breathing exercises, etc. Conclusions. The health-developmental direction of performance activity of future teachers-musicians is an effective means of optimizing music-pedagogical education in Ukraine according to the requirements of the times. Its task includes the construction of musical and educational activities of future teachers-musicians of institutions of general secondary education in combination with the process of preserving and preventing the health of children's personalities. Spontaneous music making and improvisation are an extremely effective means of directing musical and performing activities in the health-developmental direction. The process of formation of voluntary self-regulation of the performer (teacher-musician) requires special attention in the health-developmental approach to performance training. The issue of optimizing the educational process of future music teachers in accordance with the requirements of the time is complex and multifaceted; therefore the conducted research does not exhaust all aspects of the investigated problem.

Perversity, precarity, and anxiety: tracing a ‘more precise typology’ of the affect of neuroqueer failure in an in-school research-creation project

In this paper, I draw from an in-school music research-creation project to consider the complex, racist-ableist politics of failure in the early childhood classroom. I theorise failure as it unfolds through anxiety, which I conceptualise as an affect of failure, to discuss both the perverse possibilities and perilous precarities of (neuro)queer failure. I examine two samples from an in-school research-creation project, which fail in generative yet risky ways: (1) a vocal improvisation by “Kwodwo,” whereupon I consider failure as mobilised through the racist-ableist politics of neurotypicality, disproportionality in special education, and refusal; and (2) research-creation’s transdisciplinary courting of failure through my “critical use” of electrodermal activity. Drawing from these two samples, I suggest that, in considering this special issue’s call for “bad research,” educational researchers must not only attend to those failures that sit within the successful confines of what is defensible in the academy (i.e. failure without failing), but also to the intersecting ethico-political complexity of failure.

NEXT TIME WON'T YOU SIGN WITH ME: JOAN LA BARBARA ON SESAME STREET

AbstractThis article explores Joan La Barbara's appearance on Sesame Street with ‘The Signing Alphabet’ (1977) to engage her artistic commitments to accessibility and collaboration. The piece is an alphabet song rendered through vocal improvisation against an animation of the American Manual Alphabet by Steve Finkin. It plays with the relationships between sound, alphabets, learning and literacy, reaching new listening publics: children and their caregivers. Through the visibility it offers Deaf culture, the work generates frames through which to hear La Barbara's voice and see the limitations of her vocal extensions. The piece reveals other paths for new music in the 1970s, placing La Barbara's creativity in the context of educational programing aimed at normalising difference, especially in the context of disability, race and class. Sesame Street and Joan La Barbara, I suggest, imbue vocal extension and exploration with an ethos of care.

Vocal improvisation using interactive music technology

ABSTRACT This paper aims to study the features of vocal improvisation using interactive musical technologies. The survey method contributed to determining the level of vocal skills of 214 respondents auditioned before the experiment. The authors developed a training programme based on previously received information. It included breathing, technical, aesthetic, and vocal improvisation skills. The results showed that 93% of the experimental group believed that interactive technologies had advantages in the educational process, and 63% of the control group believed that they had no advantages. The survey of the students allowed identifying elements that required improvement or changes in the curriculum. The students of the experimental group showed that using national Chinese instruments for accompaniment was important for 32% of the respondents, 27% chose the answer “other”, which included systematic and more frequent cross-sections of knowledge, the involvement of foreign approaches to learning. The calculation of the level of knowledge obtained showed that 88% of the students demonstrated a high level in the experimental group, a low one was only in 2%. Study prospects relate to studying technical and aesthetic elements to be applied during classical and folk vocal performance.

"My Voice is who I am" - Vocal Improvisation Group Work with Healthy Community-Dwelling Older Adults

Background: Vocal improvisation is known as beneficial in promoting well-being, yet not much is known about using vocal improvisation with healthy older adults. While the emphasis in music therapy on studying interventions with clinical populations of older adults is important, the challenges and stressors facing healthy older adults require more investigation.
 Methods: This qualitative study analyzed the experiences of 54 older adults, ranging between 60 and 93 years (M=71.07), who participated in 12 weekly vocal improvisation group meetings that incorporated various voice improvisation techniques. Data was gathered using qualitative semi-structured group interviews with 12 focus groups (pre- and post-intervention).
 Results: A qualitative content analysis revealed that the vocal improvisations created the sense of an open space where participants could express and explore their own voices. The intervention has changed their attitudes regarding their own voices and led to meaningful personal experiences and new self-discoveries. The participants described experiencing a significant emotional process during the group work and reported experiencing self-exploration, and improvements in their self-beliefs, attitudes regarding their own voices, and their well-being.
 Conclusions: Vocal improvisation group intervention was experienced as beneficial for the well-being of healthy community-dwelling older adults.

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation.

In electronic musical instruments (EMIs), the concept of "sound sculpting" was proposed by Mulder, in which imaginary objects are manually sculpted to produce sounds, although promising has had some limitations: driven by pure intuition, only the objects' geometrical properties were mapped to sound, while effort-which is often regarded as a key factor of expressivity in music performance-was neglected. The aim of this paper is to enhance such digital interactions by accounting for the perceptual measure of effort that is conveyed through well-established gesture-sound links in the ecologically valid conditions of non-digital music performances. Thus, it reports on the systematic exploration of effort in Dhrupad vocal improvisation, in which singers are often observed to engage with melodic ideas by manipulating intangible, imaginary objects with their hands. The focus is devising formalized descriptions to infer the amount of effort that such interactions are perceived to require and classify gestures as interactions with elastic versus rigid objects, based on original multimodal data collected in India for the specific study. Results suggest that a good part of variance for both effort levels and gesture classes can be explained through a small set of statistically significant acoustic and movement features extracted from the raw data and lead to rejecting the null hypothesis that effort is unrelated to the musical context. This may have implications on how EMIs could benefit from effort as an intermediate mapping layer and naturally opens discussions on whether physiological data may offer a more intuitive measure of effort in wearable technologies.

Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna

Abstract The last 20 years have been crucial for 18th-century musicology. Robert Gjerdingen’s studies have focused on a key feature of 18th-century music that has completely changed our understanding of the Baroque repertory: schematic thinking. Yet discovering its traces still constitutes a demanding task. This article aims to contribute to and broaden this field of research by analysing a particular group of 18th-century Neapolitan manuscripts of sacred music through the lens of solfeggio. Related scores for the use of individual interpreters include summary annotations of pre-composed vocal cadenzas, perhaps added by the singers themselves. If analysed through solfeggio theory, it appears that these are built over simple solfeggio patterns, suggesting that early 18th-century Neapolitan vocal improvisation was conceived schematically. The article will substantiate this claim through three case studies in the form of sacred compositions by Gennaro and Gaetano Manna: ‘Et vos inferni furiae’, ‘O quam silva’ and the Oratorio a 4 per i morti (1770).

The specificity of improvisation parts in Italian baroque aria da capo

Purpose of the Article. The main attention in the article is focused on the peculiarities of improvisation methods that were used in the third part and in the Cadenzas of aria da capo in baroque Italy. The characteristic features of vocal improvisation space in opera atr of Italian baroque have been explored and defined. In particular, the specificity of baroque ornamental improvisation in the aria's third part has been defined; the differences between baroque and renaissance improvisation have been clarified; the essence of the theory of affects (feelings, emotions) as an aesthetic and philosophical context of vocal art's existence in the baroque era has been defined; the peculiarities of an existing connection between the theory of effects and the main principles of the rhetoric of that time have been clarified; we have also found out how the rhetoric of the baroque era affected the disposition of Cadenzas in the context of musical structure's dramaturgy; the historical circumstances in which the genre discussed (that is, aria da capo) was formed have been described. Мethodology. We have used in our study as research tools the following methods: a comparative method (for comparing of improvisation stylistics of the renaissance and of the baroque era; of the Venice and Neapolitan operatic schools); a historical and stylistic method (for featuring of the historical context of the emergence and performing of arias da capo and of their Cadenzas and for characterizing of the essencial features of the epoch analyzed); an analytical and descriptive method (for the analysis of particular elements of improvisation in arias da capo, of the key principles of the theory of effects and their connection to baroque improvisation). Scientific novelty. The topic of the article is connected to the largely unexplored nowadays realm of music artists that, however, needs careful analysis and a systematic approach. The up-to-date research results in the sphere of vocal improvisation of the baroque era are presented and analyzed in the article. Conclusions. Improvisation in the space of aria da capo is a multidimentional, controversial, and ambiguous sphere of baroque vocal art. It cannot confine itself only by the sphere of performance but also deserves music scholars' regard.