Vocal Voice Research Articles

A Study on the Improvement of Pronunciation of AI Vocal Voice Synthesis based on Phonological Characteristics

A Study on the Improvement of Pronunciation of AI Vocal Voice Synthesis based on Phonological Characteristics

Comparing jet-shaped point symmetry in cluster cooling flows and supernovae

I point out similarities between point-symmetric X-ray morphologies in cooling flow groups and clusters of galaxies, which are observed to be shaped by jets, and point-symmetric morphologies of eight core-collapse supernova (CCSN) remnants. I identify these similarities by qualitative eye inspection of multiwavelength images. I use these similarities to strengthen the jittering jet explosion mechanism (JJEM) of CCSNe, which predicts that the last pairs of jets to be launched by the newly born neutron star might shape some CCSN remnants to point-symmetric morphology. The point-symmetric morphologies in both types of objects are composed of two or more pairs of opposite bubbles (cavities), nozzles, some clumps, small protrusions (termed ears), and rims. The typically large volume of a CCSN remnant shaped by jets implies that the shaping jets carry an energy comparable to that of the ejecta, which in turn implies that jets exploded the remnant’s massive star progenitor. The morphological similarities studied here add to the similarity of CCSN remnants, not only point-symmetric ones, to planetary nebulae shaped by jets. Together, these similarities solidify the JJEM as the main explosion mechanism of CCSNe. I consider the identification of point-symmetry in CCSNe, as expected by jet-shaping in the JJEM, to be the most severe challenge to the competing neutrino-driven explosion mechanism. I reiterate my earlier claim, but in a more vocal voice, that the main explosion mechanism of CCSNe is the JJEM.

Ehlers-Danlos syndrome in the practice of an otorhinolaryngologist: Clinical observation and literature review

The presented own clinical observation showed that functional dysphonia can be one of the clinical manifestations of EhlersDanlo syndrome: it is the deep layer of the own plate of the vocal fold, containing a large amount of collagen, that is most susceptible to changes in this pathology. The patient of the vocal voice for many years: a picture of hypotonic dysphonia was revealed during video pharyngostroboscopy – gaping of the laryngeal ventricles, non-closure of the vocal folds throughout by 1.5–2 mm. Acoustic analysis of the voice showed a decrease and instability in the amplitude of the pitch frequency, a narrowing of the dynamic range, a decrease in the intensity of the voice in the area of individual tones of the transient register, an increase in the level of noise components in the spectrum. The patient underwent a course of neuromuscular electrophonopedic stimulation No. 12 in combination with taking B vitamins for three weeks; after that, an increase in voice endurance was subjectively noted, however, according to the results of phonetography, spectrography and videolaryngostroboscopy, no visible positive dynamics was noted. The rheumatologist revealed hyperextension and increased traumatism of the skin, increased folding of the palms and flat feet. DNA sequencing revealed mutations in the genes and confirmed the diagnosis of Ehlers-Danlo syndrome.

Методичні засади виконавської інтерпретації циклу О. Красотова «Зибучі піски» в класі концертмейстерства

Research objective – study of the peculiarities of the interpretation of the vocal cycle as an artistic integrity in the classroom of the chamber-vocal ensemble. The joint work of the teacher, student and vocalist is aimed at achieving interpretive unity not only in relation to the performance concept of the work, but also in terms of the general approach to choosing the most appropriate timbre, mascara, dynamics, tempo and more. A special role in mastering the skills of ensemble unity of the accompanist and vocalist is played in further work on opera stages. Thus, the success achieved in pedagogical and performing activities in working on the vocal cycle becomes a necessary link in the formation of the skills of the accompanist and the possession of the necessary skills in the successful interpretation of major opera scenes. The methodology is based on the analytical method and the combination of the basics of Asafiev’s intonation theory and pedagogical practice in the class of concertmaster. Scientific novelty is to substantiate the methodical and interpretive approaches to the performance of ensemble works and the introduction into pedagogical and concert circulation of the little-known vocal cycle of Ukrainian composer O. Krasotov. The given methodical recommendations concerning the key moments in the interpretation of the vocal cycle “Shelling sands” can serve as a material for making artistic decisions in the interpretation of the music of contemporary Ukrainian composers. Conclusions. The role of a teacher-accompanist in the interpretation of chamber-vocal cycles is based on a set of knowledge of general historical and theoretical origin, which allows to orient in the style of a musical work, skills of purely pianistic professional activity and understanding the nature of vocal voice. Developing a holistic understanding of the artistic idea and figurative sphere of the chamber-vocal cycle gives the accompanist the opportunity to create an artistic interpretation in a flexible collaboration with the vocalist and achieve success in concert activities.

СУЧАСНИЙ СТАН ВОКАЛЬНОЇ ПІДГОТОВКИ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА У ЗАКЛАДАХ ВИЩОЇ ОСВІТИ

The development of Ukrainian society requires new approaches in preparing students for professional activities. One of the urgent problems in training a future music teacher is vocal training. A modern professional and competent vocalist must have an impeccable vocal voice, vocal technique, be able to use the skills of various styles of world musical art, understand the specifics of vocal art and be fluent in modern information technologies. The article reveals the essence of such concepts as "vocal training", "vocal skill", much attention is paid to the methods of vocal training and directions of vocal training of future music teachers in the conditions of distance learning. In this study, the main attention is focused on the methodological principles of vocal training of future music teachers. The author identified and characterized the methods of vocal training, namely: explanatory-illustrative, reproductive, heuristic (search), research (creative), phonetic, concentric and the method of imaginary (internal) singing. It has been proven that the introduction of innovative technologies into the pedagogical process contributes to a more productive mastering of methods during vocal training, namely the remote form of conducting classes, which brings radical changes to the historically formed domestic system of student training. Areas of remote work in the vocal class are highlighted, including theoretical training, which involves studying the history of vocal performance; practical training (performance of individual sets of exercises, use of phonopedic method, development of repertoire works, etc.). It is noted that the use of work methods in the vocal class, appropriate for distance learning, on the one hand, allows to exclude long breaks that reduce the motivation of classes, and on the ot

Prognostic Indicators of Non-Transection Nerve Injury and Vocal Fold Motion Impairment After Thyroid Surgery - Correlation Between Intraoperative Neuromonitoring Findings and Perioperative Voice Parameters.

ObjectivesIn patients with recurrent laryngeal nerve (RLN) injury after thyroid surgery, unrecovered vocal fold motion (VFM) and subjective voice impairment cause extreme distress. For surgeons, treating these poor outcomes is extremely challenging. To enable early treatment of VFM impairment, this study evaluated prognostic indicators of non-transection RLN injury and VFM impairment after thyroid surgery and evaluated correlations between intraoperative neuromonitoring (IONM) findings and perioperative voice parameters.Methods82 adult patients had postoperative VFM impairment after thyroidectomy were enrolled. Demographic characteristics, RLN electromyography (EMG), and RLN injury mechanism were compared. Multi-dimensional voice program, voice range profile and Index of voice and swallowing handicap of thyroidectomy (IVST) were administered during I-preoperative; II-immediate, III-short-term and IV-long-term postoperative periods. The patients were divided into R/U Group according to the VFM was recovered/unrecovered 3 months after surgery. The patients in U Group were divided into U1/U2 Group according to total IVST score change was <4 and ≥4 during period-IV.ResultsCompared to R Group (42 patients), U Group (38 patients) had significantly more patients with EMG >90% decrease in the injured RLN (p<0.001) and thermal injury as the RLN injury mechanism (p=0.002). Voice parameter impairments were more severe in U Group compared to R Group. Compared to U1 group (19 patients), U2 Group (19 patients) had a significantly larger proportion of patients with EMG decrease >90% in the injured RLN (p=0.022) and thermal injury as the RLN injury mechanism (p=0.017). A large pitch range decrease in period-II was a prognostic indicator of a moderate/severe long-term postoperative subjective voice impairment.ConclusionThis study is the first to evaluate correlations between IONM findings and voice outcomes in patients with VFM impairment after thyroid surgery. Thyroid surgeons should make every effort to avoid severe type RLN injury (e.g., thermal injury or injury causing EMG decrease >90%), which raises the risk of unrecovered VFM and moderate/severe long-term postoperative subjective voice impairment. Using objective voice parameters (e.g., pitch range) as prognostic indicators not only enables surgeons to earlier identify patients with low voice satisfaction after surgery, and also enable implementation of interventions sufficiently early to maintain quality of life.

MELODY AS A FACTOR OF VOCAL AND PERFORMING INTERPRETATION OF THE OPERA IMAGE

The aim of the article is to determine current approaches to the phenomenon of opera melodics, clarify the concept of opera melody, substantiate the priority of vocal and performing interpretation in the formation of an opera image and in the development of an opera musical text. A comprehensive methodology for studying the genre nature of opera and its typological artistic features is proposed. The combination of textual and semantic approaches makes it possible to expand the understanding of the melodic functions of an opera text and its communicative tasks. The scientific novelty of the research is due to the identification of aesthetic, structural and compositional, artistic and psychological prerequisites for the creation of the theory of opera melos as an autonomous discipline that can influence modern opera studies and the creative practice of opera performers. The conclusions of the article indicate the key properties of the opera melody, which make it possible to characterize it as a way of creating an opera speech; emphasize the main factors of the opera melodic speech: the enlargement of the elements of the theme and the strengthening of its discreteness, the altitude-rhythmic fixation of the motivational relief, which makes it possible to convey the sound and content of the word, orientation on the “image of feeling”, emotional fullness and psychological personal reasoning, the requirement of getting used to and rebirth into an opera image and specific timbre predestination, that is, being attached to a certain type of vocal voice.

Impact of hydration on vocal loading using phonetogram measures

&lt;p&gt;&lt;strong&gt;Background:&lt;/strong&gt; Vocal loading is a phenomenon that affects the vocal folds and voice parameters. Prolonged vocal loading may cause vocal fatigue. Hydration is one of the easiest precautions to reduce the effect of vocal loading. Voice range profile is an analysis of a participant’s vocal intensity and fundamental frequency ranges. Speech range profile is a graphical display of frequency intensity interactions occurring during functional speech activity. Phonetogram software can analyse VRP and SRP.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Methods:&lt;/strong&gt; Total sixty normophonic participants (thirty male and thirty female) were included in this study. Phonetogram, version 4.40 by Tiger DRS, software used to measure the voice range profile and speech range profile. For VRP, participants were asked to produce vowel /a/ and a passage reading task was given for SRP measurement.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Results:&lt;/strong&gt; All sample recording were done at pre vocal loading task, VLT and after hydration. Parameter that were used to measure the effects were Fo-range, semitone, max-F, min-F, SPL range, max-I, min-I, area (dB). Result showed that after VLT all other parameters like Fo-range, semitone, max-F, min-F, SPL range, max-I, min-I, area (dB) in VRP and SRP were reduced except min-F VRP in male, min-I VRP and min-I SRP in both male and female participants. After hydration all other parameters were improved except max-F VRP and min-F VRP in female, max-I VRP, min-F VRP and area VRP.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Conclusions:&lt;/strong&gt; This study concluded that vocal loading has negative impact on vocal fold tissue and mass. &lt;/p&gt;

Patient Self-Assessment and Acoustic Voice Analysis in Screening of Postoperative Vocal Fold Paresis and Paralysis.

Background and objective:The aim of this study was to evaluate the utility of two items in vocal fold paresis and paralysis screening after thyroid and parathyroid surgery: patient self-assessment of voice using the Voice Handicap Index and computer-based acoustic voice analysis using the Multi-Dimensional Voice Program.Methods:This was a prospective study of 181 patients who underwent thyroid or parathyroid surgery over a 1-year study period (2017). Preoperatively, all patients underwent laryngoscopic vocal fold inspection and acoustic voice analysis, and they completed the Voice Handicap Index questionnaire. Postoperatively, all patients underwent laryngoscopy prior to hospital discharge; 2 weeks after the surgery, they completed the Voice Handicap Index questionnaire a second time. Two weeks postoperatively, patients with vocal fold paresis or paralysis and 20 randomly selected controls without vocal fold paresis or paralysis underwent a follow-up acoustic voice analysis.Results:Fourteen patients had a new postoperative vocal fold paresis or paralysis. Postoperatively, the total Voice Handicap Index score was significantly higher (p = 0.040) and the change between preoperative and postoperative scores was greater (p = 0.028) in vocal fold paresis or paralysis patients. A total postoperative Voice Handicap Index score > 30 had 55% sensitivity, and 90% specificity, for vocal fold paresis or paralysis. In the postoperative Multi-Dimensional Voice Program analysis, vocal fold paresis or paralysis patients had significantly more jitter (p = 0.044). Postoperative jitter > 1.33 corresponded to 55% sensitivity, and 95% specificity, for vocal fold paresis or paralysis.Conclusions:In identifying postoperative vocal fold paresis or paralysis, patient self-assessment and jitter in acoustic voice analysis have high specificity but poor sensitivity. Without routine laryngoscopy, approximately half of the patients with postoperative vocal fold paresis or paralysis could be overlooked. However, if the patient has no complaints of voice disturbance 2 weeks after thyroid or parathyroid surgery, the likelihood of vocal fold paresis or paralysis is low.

Vocal tract discomfort and voice handicap index in patients undergoing thyroidectomy

Purpose This study aims to investigate the frequency and severity of vocal tract discomfort (VTD) symptoms and to determine the relationship between VTD and type of thyroidectomy, voice problem history, vocal abuse, and misuse behaviors, and the voice handicap index (VHI) in the thyroidectomy patients undergoing thyroidectomy, pre- and post-operatively pre- and post-thyroidectomy. Materials The sample comprised 21 thyroidectomy patients undergoing thyroidectomy, including 10 patients with total thyroidectomy and 11 patients with partial thyroidectomy. The participants underwent videolaryngoscopy examination and completed the voice history questionnaire, the VTD scale, and the VHI, before and after the surgery. Results Dryness was the most frequently occurring symptom, pre- and post-thyroidectomy. Participants with total thyroidectomy reported significantly higher frequency and severity of tickling than those in the preoperative status (p<.05). The frequency and severity of many VTD symptoms in the participants with voice problems and a vocal abuse and misuse history were higher than those without such a history at both assessment times (p<.05). There was significant correlation between the frequency and severity of VTD and VHI scores, pre-thyroidectomy pre-operatively (r = 0.488–0.575, p<.05). Conclusions An increment in the frequency and severity of tickling was reported by total thyroidectomy patients, post-thyroidectomy post-operatively. The type of thyroidectomy, voice problem history, and vocal abuse and misuse behaviors seem to influence the frequency and severity of VTD. Considering the correlation between VTD and VHI, the VTD scale provides important clinical information and can be used for evaluation and consultation purposes.

Interpretation Peculiarities of Opera Arias of Azerbaijani and Western European Composers Performed by Muslim Magomayev

Muslim Magomayev (1942-2008) is an outstanding singer who played a significant role in the history of vocal musical culture in Azerbaijan and the world. Arias from operas by various composers occupy an important place in Magomayev’s creative activity. He turned to these arias from the earliest stages of his career and managed to create unique pieces of art. The article thoroughly analyses the vocalist’s performance of opera arias and gives a distinct explanation of his performance principles. It should be noted that the peculiarities of M. Magomayev’s performance of opera arias have not been scientifically and theoretically studied and extensive research has not been previously carried out.The purpose of this research is to identify Magomayev’s principles of performing opera arias, the interpretation features of some of the works performed by the singer.The research methodology consists of various analysing methods of vocal performance. All this is presented in connection with the information about the singer published in various newspapers and magazines, and some moments from his life. The performance analysis carried out in the article is associated with the theoretical foundations for vocal science. Along with it, the analysis of vocal performance is presented on note samples.The scientific novelty of the research. It is for the first time M. Magomayev’s opera aria creativity has been reviewed, and the singer’s vocal peculiarities and his method of approaching the images have been determined. The study includes performance analyses of samples of musical works by Azerbaijani and Western European composers, as well.Conclusions. M. Magomayev gave priority to addressing opera arias by various composers in his repertoire. One of the main features of Magomayev’s performance is the preservation of the style of any aria during the performance. This is manifested both in a variety of performance techniques and in various ways of artistic expression. The singer brought out the subtle details of each image and transforms them into a characteristic feature of the protagonist. In these arias, he could demonstrate all capabilities of his voice. Features of his voice character, including the strength, volume range, good state of the voice apparatus, a wide range of vocal performance techniques and rich voice palette give grounds to say that the singer’s voice apparatus was given him by nature. The singer’s wide voice range allowed him to masterly perform arias written for bass and baritone timbres.

Maximum vocal intensity as a primary outcome measure in unilateral vocal fold paralysis patients.

To evaluate voice intensity as the primary outcome measurement when treating unilateral vocal fold paralysis patients. This prospective observational study comprised 34 newly diagnosed unilateral vocal fold paralysis patients undergoing surgical interventions: injection laryngoplasty or medialisation thyroplasty. Voice assessments, including maximum vocal intensity and other acoustic parameters, were performed at baseline and at one and three months post-intervention. Maximum vocal intensity was also repeated within two weeks before any surgical interventions were performed. The results were compared between different time points and between the two intervention groups. Maximum vocal intensity showed high internal consistency. Statistically significant improvements were seen in maximum vocal intensity, Voice Handicap Index-10 and other acoustic analyses at one and three months post-intervention. A significant moderate negative correlation was demonstrated between maximum vocal intensity and Voice Handicap Index-10, shimmer and jitter. There were no significant differences in voice outcomes between injection laryngoplasty and medialisation thyroplasty patients at any time point. Maximum vocal intensity can be applied as a treatment outcome measure in unilateral vocal fold paralysis patients; it can demonstrate the effectiveness of treatment and moderately correlates with self-reported outcome measures.

Linguistics in the Framework of Three-Dimensional Logo: Letter, Note, Numeral

The task of the article is return prosody to linguistics, to turn linguistics to speech, to voice content. For this, linguistics rises to the logo. It is shown that the logo as such is divided into three hypostases: the verbal logo, the musical logo (melos) and mathematical logo. The results of objectifications (Entӓusserung, Gegenstӓndlichkeit in German) of these components are expressed respectively by letters, notes and numerals. Each of the three components has two aspects that the author calls styles. The verbal logo has a prosaic and poetic style; musical logo has vocal (voice) and musical-instrumental style; mathematical logo has a logical style and a historical style. Martin Heidegger showed that the logo is inextricable linked with time. The projection of time on the created images ̶ verbal and poetic (letters), musical (notes), mathematical (numеrals) ̶ allows you to fill them with life, to give them a natural look. Thus, orientation to the logos leads the linguist to a wider understanding of the subject of linguistics in comparison with the previous, narrowed version of its interpretation.

THE FORMATION OF VOCAL AND AUDITORY SKILLS OF THE FUTURE MUSIC TEACHERS

Formation of vocal and auditory skills of future music teachers is an urgent task of the system of music professional education at the present stage. Updating the music education system, new target settings require students to more consciously acquire learning knowledge and skills, among which vocal and auditory are the leading ones. Attempts to scientifically substantiate vocal and pedagogical practice were made during the existence of the old Italian school. However, most works, both domestic and foreign, do not provide a comprehensive scientific substantiation of the theory of singing art. The problem of development and training of future teachers of music in the class of voice production, improvement of their vocal and performing skills, is receiving much attention today in both art and pedagogical activity. The purpose of the article is to generalize the acquired scientific and practical experience in the field of formation of vocal and auditory skills of students – future teachers of music art. To achieve the goal, a set of theoretical methods were used, including: analysis and systematization of scientific sources in order to identify the state of development of the problem under study; terminological analysis to determine the nature and content of key research definitions; analysis, generalization, and systematization to determine the potential effectiveness of methodological approaches. The theoretical background for creating a technique for forming vocal and auditory skills of future music teachers is analyzed in the article. The necessity of vocal training of students – future music teachers as an important component of their professional training is proved. Scientific approaches to the development of such leading vocal and auditory skills as: singing voice, vocal breathing, melodic hearing are analyzed. The authors found out that the implementation of the process of development of vocal and auditory skills requires a clear construction of the strategy and tactics of pedagogical activity to create a teaching methodology. Thus, according to the analyzed vocal-pedagogical and methodological literature, psychological and pedagogical bases of vocal-auditory skills formation, psychophysiological aspects of the development of vocal voice, the structure of the process of vocal-auditory development of future pedagogues-musicians was formed. As well as the formation of scientific-methodical base of the knowledge motivation to study singing, formation of vocal, technical and auditory performing skills. Having studied the problem of development of singing voice of students – future musicians-teachers, they concluded that there is a need for a clear strategy and tactics of pedagogical activity aimed at the development of vocal and auditory skills of the latter

Основные направления освоения творческого наследия Владислава Соколова в классе хорового дирижирования

The article reveals the creative portrait of the outstanding Russian choir conductor Vladislav Gennadievich Sokolov and defines main approaches of acquisition of the composer’s complicated heritage. It dwells upon a highly emphasized creativeness component of Sokolov’s conducting practice and – consequently – virtuosity and freedom of performing interpretation at the concerts. The article enlights inclusion of Vladislav Sokolov’s composing oeuvre into the conduction classes repertoire. The author insists that adaptations of folk songs is the genre combining composer’s talent and conductor’s experience of V. G. Sokolov. Each of them is unique, but they are united by their vocal comfortable performance and natural voice leading. The article provides pedagogical tasks related to learning of particular works by Sokolov at various stages of choir conduction education. There is a special emphasis on the necessity to form students’ self­control skills and conductor’s perception, vocal and acoustic understanding and muscular feelings. Among the most effective educational methods and techniques there is a teacher’s demonstrative performance, watching and listening to famous choirs followed by analysis, creative tasks related to formation of a few interpretations of one composition. Another abstract of the article is dedicated to methodical heritage left by V. G. Sokolov. It contains the analysis of “Working with the choir” summarizing the master’s long­term practical. The materials of the book are highly important for studying while preparing for vocal, choral and interpretative analysis of compositions learned at conduction classes.

Методика освоения украинского песенного фольклора в процессе подготовки будущих учителей музыки

The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.

Diplomate Perceptions and Public Expectations of Board Certification: A Commentary.

Diplomate Perceptions and Public Expectations of Board Certification: A Commentary.

Systematic research on vocal art performance and human voice science based on wireless sensors

Systematic research on vocal art performance and human voice science based on wireless sensors

Співвідношення музичного та поетичного ритму в ранніх вокальних циклах Валентина Бібіка

Розглядаються принципи втілення віршового ритму в трьох ранніх вокальних циклах В. Бібіка – «Пісні батьківського дому», «Акварелі» та «Два інтермецо», які відбивають пошуки композитора власного шляху у цій жанровій сфері на ранньому етапі творчості. У першому опусі автор використовує різні типи вокалізації віршованого тексту, однак залишається у руслі традиції. Для одночастинної композиції «Акварелей» притаманні сонористичні ефекти, відмова від метричної сітки, особливі прийоми виконання, які забезпечують своєрідність ритміки вокальної партії. В «Двох інтермецо» В. Бібік розширює виконавський склад, залучаючи до традиційного дуету голосу та фортепіано ще й флейту. Цей твір постає новим етапом активних пошуків композитора у жанрі камерно-вокальної музики.

Ramiz Mustafayev’in müşayietli xor işlemelerinin üslub xüsusiyyetleri

M e qal e Ramiz Mustafayevin musayi e tli xor ucun xalq mahni isl e m e l e rinin t e hlilin e h e sr edilir. Onlarin sirasinda musayi e t v e xor, musayi e t xor v e solist t e rkibi n e z e r e carpir. Isl e m e l e rd e n yalniz biri 3 s e sli xor ucun n e z e rd e tutulmusdur, dig e rl e ri h e r biri 4 s e sli xor partiyasina malikdir. Dord xor isl e m e sind e solist partiyasi da yer almisdir. R.Mustafayevin musayi e tli xor isl e m e l e rind e ilk novb e d e vokal s e sin imkanlari xalq mahni ifaciliginin e sas uslub xususiyy e tl e ri il e uzlasir. Xor musiqisinin sirl e rin e yaxsi b e l e d olan b e st e kar isl e m e l e rd e kollektivin vokal imkanlarini uz e cixarmaqla yanasi, mahninin obraz-emosional m e zmununun catdirilmasina da xususi diqq e t yetirir. Qeyd olunan xususiyyetler meqalede arasdirilir.