scholarly journals The role and specificity of vocal-performing universalism (on the example of the activity at MC “The Kharkiv Regional Philharmonic Society”)

2019 ◽  
Vol 52 (52) ◽  
pp. 188-200
Author(s):  
V. Gigolayeva-Yurchenko
Keyword(s):  
Musical Instrument ◽  
Cultural Development ◽  
Necessary Condition ◽  
Professional Activity ◽  
Pop Music ◽  
Singing Voice ◽  
Vocal Technique ◽  
Vocal Apparatus ◽  
Quality Response ◽  
The Voice

The relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to comply with the performing complex, which includes a number of requirements: the vocal-technical and stage freedom, the mastery of the art of improvisation (working with the audience), the vocal endurance, taking into account the repertory load (during one hour and a half). Last but not least, there are such criteria as the vocal-performing aesthetics, the ability for gender-performing transformation and the vocal-figurative reincarnation in one concert, etc. The purpose of the article is to substantiate the role of the phonopedic method for the development of a singing voice for developing the vocal-performing universalism in the conditions of the competition between genre-performing styles and the trends of the modern vocal culture. Analysis of recent research and publications. A great deal of interesting research and biographical works (I. Arkhipova, P. Domingo, S. Lemeshev, E. Nesterenko, B. Hmyrya, T. Madysheva,) is devoted to studying the specifics of the vocal-performing interpretation. The practicing teachers and scientists (L. Dmitriev, J. Lauri-Volpi, I. Nazarenko, V. Yushmanov) reveal the performing secrets, share their stage experience, meticulously identifying the nature and the possibilities of the voice apparatus, make historical excursions and acquaint with the vocal traditions of the past. However, none of the above scientific sources presents a systematic picture reflecting the vocal-performing process as a complex phenomenon. The author sees the indicated problem as relevant and requiring a multilateral discussion of specialists. The presentation of the main material. As of today, the professional activity of a vocal artist, regardless of the genre direction, faces very high requirements, the most important of which is the interpretative universalism. Its fundamental element is the vocal technique, the possession of which is the basic condition that ensures the singer a long and healthy professional life. However, up to the present, it is the vocal technique that continues to be an area of the open problem of the singing instrument, as a sound-forming object used by vocal performers to realize their artistic intentions and tasks. The key issue of the vocal method and one of the fundamental questions of the theory of the singing art, the psychophysics that controls the phonation process remains its unexplored area. According to V.I. Yushmanov, the technically perfect singing (or the vocal school) is a factor by which, first of all, the vocal mastery is evaluated, and the ability to sing, maintaining the phonetic clarity of vocal speech in combination with timbre rich, and at the same time bright, flying sound of the voice, steady dynamically and in the pitch on a range of at least two octaves – is one of the main requirements of the singing profession, the very necessary condition that provides the singer with the opportunity to realize their artistic intentions. But at the same time, the impossibility of separating the singing instrument from the singer himself/herself and the secrecy of the work of the control system of the singing process initially caused the emergence of the persistent illusion that, unlike instrumentalists, singers deal with the voice – perceived only acoustically (by the hearing). In this regard, the development of the vocal technique, called the “singing voice setting” must include a detailed study of the functional structure of the vocal apparatus, as a musical instrument, together with the psychophysical peculiarities. It should be noted that in the gender (male and female) and age (children, adolescents, adults) senses, the psychophysical peculiarities of the management of the vocal phonation process are diametrically opposed and require an individual approach in the vocal pedagogy. The methods of influence on psychophysics, which are responsible for managing the vocal phonation process, the principles of its flexible correction are presented in detail in the field of phonopedia and are successfully applied by vocal phonopedists. Unfortunately, the majority of the vocal-performing and phonopedic practices coexist in parallel and intersect only in critical cases (in case of functional disorders of the vocal apparatus). For ten years of my performing on the stage of the concert organization MC “The Kharkiv Regional Philharmonic Society” I have had a unique opportunity to try myself in different vocal genres and vocally reincarnate within the fames of even one concert. Such working conditions discipline, force to develop, and provide the opportunity to experiment and learn the professional foundations of singing with an even new power. And, of course, it would be impossible without the proper vocal and technical foundations, which should be constantly replenished and improved thanks to the knowledge of the phonopedic method of the voice development. The conclusion. On the example of the personal experience in chamber and concert performances it has been shown that the presented issues are relevant and deserve attention. The “tandem” of phonopedia and vocal theory not only opens new horizons for singers in their vocal-performing practice, but also shows the shortest way to mastering the singing and interpretive universalism.

scholarly journals The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)

2019 ◽  
Vol 17 (17) ◽  
pp. 90-102
Author(s):  
A. Fedenko
Keyword(s):  
Performing Arts ◽  
Sound Production ◽  
Ethnic Origin ◽  
Professional Activity ◽  
Vocal Performance ◽  
Vocal Technique ◽  
Sound Amplification ◽  
High Level ◽  
Rock Opera ◽  
The Voice

Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.

scholarly journals Establishing Normative Data on Singing Voice Parameters of Children and Adolescents with Average Singing Activity Using the Voice Range Profile

2021 ◽  
pp. 1-12
Author(s):  
Tobias Dienerowitz ◽  
Thomas Peschel ◽  
Mandy Vogel ◽  
Tanja Poulain ◽  
Christoph Engel ◽  
...  
Keyword(s):  
Socioeconomic Status ◽  
Normative Data ◽  
Clinical Diagnostics ◽  
Singing Voice ◽  
Minimum Frequency ◽  
Range Profile ◽  
Percentile Curves ◽  
The Mean ◽  
Voice Range ◽  
The Voice

<b><i>Purpose:</i></b> The purpose of this study was to establish and characterize age- and gender-specific normative data of the singing voice using the voice range profile for clinical diagnostics. Furthermore, associations between the singing voice and the socioeconomic status were examined. <b><i>Methods:</i></b> Singing voice profiles of 1,578 mostly untrained children aged between 7.0 and 16.11 years were analyzed. Participants had to reproduce sung tones at defined pitches, resulting in maximum and minimum fundamental frequency and sound pressure level (SPL). In addition, maximum phonation time (MPT) was measured. Percentile curves of frequency, SPL and MPT were estimated. To examine the associations of socioeconomic status, multivariate analyses adjusted for age and sex were performed. <b><i>Results:</i></b> In boys, the mean of the highest frequency was 750.9 Hz and lowered to 397.1 Hz with increasing age. Similarly, the minimum frequency was 194.4 Hz and lowered to 91.9 Hz. In girls, the mean maximum frequency decreased from 754.9 to 725.3 Hz. The mean minimum frequency lowered from 202.4 to 175.0 Hz. For both sexes, the mean frequency range ∆f showed a constant range of roughly 24 semitones. The MPT increased with age, for boys and girls. There was neither an effect of age nor sex on SPL<sub>min</sub> or SPL<sub>max</sub>, ranging between 52.6 and 54.1 dBA and between 86.5 and 82.8 dBA, respectively. Socioeconomic status was not associated with the above-mentioned variables. <b><i>Conclusion:</i></b> To our knowledge, this study is the first to present large normative data on the singing voice in childhood and adolescence based on a high number of measurements. In addition, we provide percentile curves for practical application in clinic and vocal pedagogy which may be applied to distinguish between normal and pathological singing voice.

scholarly journals INTEGRATION OF PRACTICE-ORIENTED AND THEORETICAL APPROACHES AS A NECESSARY CONDITION FOR THE TRAINING OF MODERN PERSONNEL IN VOCATIONAL AND PEDAGOGICAL EDUCATION

2021 ◽  
pp. 33-41
Author(s):  
N.A. Pakhtusova ◽  
◽  
A.V. Podmareva ◽  
I.G. Samsonova
Keyword(s):  
Vocational Training ◽  
Professional Training ◽  
Active Form ◽  
Necessary Condition ◽  
Professional Activity ◽  
Professional Orientation ◽  
Theoretical Approaches ◽  
Priority Direction ◽  
Experimental Project

The article deals with the problem of improving the quality of training of teachers of vocational training by integrating practice-oriented and theoretical approaches for the implementation of the experimental project «Professionalism» as a priority direction in the development of secondary vocational education. It is noted that the professional activity of a teacher becomes more multitasking and requires the formation of professional skills while developing fl exibility of thinking, intelligence, and the ability to quickly respond to the demands of the labor market. The professional training of teachers provides for the integration of practice-oriented and theoretical approaches to form a competitive specialist. At the same time, the educational environment should diff er in the variability of approaches, educational technologies, didactic means and teaching methods. The article describes some forms of work with students that allow modeling the future professional activity of a teacher of vocational training and imply deepening and expanding the content of theoretical material and its refraction when performing practical tasks of a professional orientation. Noting the practice-oriented approach as an active form of organizing professional training of students, the authors consider the experience of working on the basis of the South Ural State Humanitarian Pedagogical University.

scholarly journals Eksistensi Gamelan Gong Gede Saih Pitu Dalam Ritual Agama Hindu Di Banjar Kebon Singapadu ( Perspektif Teologi Hindu )

2018 ◽  
Vol 2 (2) ◽  
pp. 510
Author(s):  
I Wayan Darya
Keyword(s):  
Direct Contact ◽  
Research Method ◽  
Structural Theory ◽  
Cultural Development ◽  
Psychological Function ◽  
Functional Theory ◽  
The Earth ◽  
Theological Perspective ◽  
The Voice ◽  
Approach Problem

<p><em>Types of gamelan that exist in the earth comes from the voice of Genta Pinara Pitu which became the inspiration of the birth gamelan in the realms of the Gods, Rsi, and also on the nature of Bhuta Kala. Furthermore, humans are also inspired to create various types of gamelan, including gamelan Gong Gede Saih Pitu in Banjar Kebon Singapadu. Gamelan can be used as a ritual medium that essentially has a deep theological meaning. Tones of the gamelan are the nyasa (sacred symbols) of the ista dewata who control all directions which form a circle called the pemgider bhuana. Playing one tone means having direct contact with one of the gods. However, the understanding of the existence of Gamelan Gong Gede Saih Pitu about the concept of ideas, structure, barrel, patih / saih, and the type of tetabuhan that it uses, need to be studied further to deepen the existence of Gong Gede Saih Pitu gamelan in Hindu theological perspective hindu ritual. This research uses qualitative research method with theological approach. Problem solving using Structural Theory, Symbol Theory, and Structural Functional Theory to dissect the gamelan's theatrical structure, function, and meaning of Gong Gede Saih Pitu in Banjar Kebon Singapadu.</em></p><p><em>Data obtained from the text and obtained in the field through observation and interview, then processed and analyzed in accordance with the theory used with the method of theological approach, then obtained the result that the gamelan Gong Gede Saih Pitu as a form of art that developed today, has the theological concept derived from the sound of pale pent in the pangider bhuana circle, and its existence not only as an accompaniment of ritual procession and as a cultural development, but has a religious function and psychological function, and contains philosophical-theological meaning, aesthetic meaning, and grandeur, and dignity, which shows how great the concept of the gamelan is as the implementation of Hindu theological tones.</em></p><p><em>Through the results of this research will materialize the understanding of gamelan theology contained in the lontar Prakempa and Aji Gurnitha, and dismissed the notion of the use of gamelan in Hindu rituals as a tradition of mule keto which is identical with the euphoria of splendor to enliven the atmosphere of the ceremony.</em></p>

Aesthetic needs in professional activity of future teacher of music: theoretical aspect of the problem

2020 ◽  
Author(s):  
Vyshnevetska Maryna ◽  
Keyword(s):  
Professional Training ◽  
Human Life ◽  
Theoretical Aspect ◽  
Music Teacher ◽  
Necessary Condition ◽  
Professional Activity ◽  
Human Needs ◽  
The World ◽  
Main Factor

The paper considers the issue of developing aesthetic needs of a future music teacher in the course of professional training. The author defines notions such as culture, aesthetic culture, aesthetic activity as well as explores the essence of the notion of an aesthetic need of a future music teacher. The paper substantiates the role of art and aesthetic activity as the main factor for aesthetic needs development. The study reveals that there is a reason for the interest to human needs since a large number of branches in material and spiritual culture of society depend on defining the nature of needs and trends in their development. The author emphasises that the functioning of all levels of human life requires needs that would meet human development both physically and emotionally, thus, there should be an aesthetic form of activity because it harmoniously combines both spiritual and functional aspects. The paper substantiates the role of art as the main factor for development of aesthetic needs that can be met in various activities, but it is in art that they find the greatest expression. The author supports the idea that art is a special area of human existence and it combines knowledge and communication, intelligence, a sense of morality, and imagination of people. Involvement of a person in art is a necessary condition for development of aesthetic consciousness since elevation of the spirit and actualization of an essential aesthetic force take place during the process of perception, experience and understanding of works of art. Art integrates a dialogue of a person with the world. Considering the concept of an aesthetic need, the author defines it as an internal need to comprehend certain aesthetic values, development of certain skills, because an aesthetic need is based on aesthetic feelings that are embodied in aesthetic tastes and consist of individual selection of those aesthetic phenomena and objects that best suit views and interests of a person. The paper emphasises that an aesthetic need embodies richness and diversity of spirituality of a person who seeks to fulfill their potential in all fullness of life and if a person has a need for personal fulfillment, they will find the strength and ways to do that. It has been proved that an aesthetic need has semantic and aesthetic properties and has an artistic and perceptual nature, which provides an opportunity to obtain pleasure, enjoyment, joy, delight from beauty. It has been established that the process of perception or direct creativity of art are characterized by a combination of a goal and means, where the means develop into the goal, and the goal is the process itself when spiritual, functional and aesthetic needs of the individual are met, i.e. a person reaches a certain level in their activity when they create products and forms of cultural activity that meet more and more of their needs. The paper outlines that an emerging aesthetic need motivates a music teacher to create conditions and means for achieving satisfaction with their own creative activities, because an aesthetic need is a desire of a future music teacher to harmonize the internal and external world as well as development of aesthetic awareness of the world: to perceive and appreciate the beauty, to live and create according to the laws of beauty.

Lady in the Lake, Choral Voices, and Narrative Agency

2021 ◽  
Vol 15 (1) ◽  
pp. 37-69
Author(s):  
DONALD GREIG
Keyword(s):  
Human Agency ◽  
Musical Instrument ◽  
A Cappella ◽  
First Person ◽  
Narrative Strategy ◽  
Notable Feature ◽  
Narrative Agency ◽  
The Voice

A notable feature of the use of choral voices in cinema is the attenuation of language; singers hum, vocalise, and sing in invented or dead languages. Such an approach applies across genres and sees choruses used in two related ways: as evocations of human and inhuman collectives, and as celebrants of spectacle and narrative resolution. I argue that this approach is dictated by the particular implication of human agency that the voice, as opposed to the musical instrument, promotes. I sketch the ontological properties of choral voices in cinema and analyse Lady in the Lake (Robert Montgomery, 1947). As well as being a singular experiment in first-person camera, the film is significant for its a cappella score, the only one of its kind in classical cinema, motivated, I argue, by the film’s distinct narrative strategy.

Liveness and Mediatization

2021 ◽  
pp. 98-126
Author(s):  
Tereza Havelková
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Live Performance ◽  
Media Technology ◽  
Sound Theory ◽  
The Voice ◽  
Louis Andriessen ◽  
Film Sound

Chapter 3 approaches liveness as an effect of immediacy. It analyzes how hypermedial opera constructs an opposition between live performance and that which is “mediatized,” that is, generated or reproduced by media technology. Relying, among others, on film sound theory, the chapter shows how the effect of liveness becomes a function of a particular relationship between sound and its source, and especially voice and body. Where some scholars have played up the discrepancy between the voice heard and the body seen in opera, this chapter is attentive to how an apparent unity of voice and body is maintained within the context of hypermediacy. With the help of Louis Andriessen and Peter Greenaway’s opera Writing to Vermeer, the chapter suggests that an alignment of liveness with femininity and body-voice unity subverts some of the critical claims that have been made with respect to both live performance and the embodied singing voice.

Allegory and Excess

2021 ◽  
pp. 38-68
Author(s):  
Tereza Havelková
Keyword(s):  
Meaning Making ◽  
Singing Voice ◽  
Text And Image ◽  
The Voice

Chapter 1 deals with the excess that opera always seems to produce in performance, which has mostly been associated with the physical, material aspects of the singing voice. Drawing on performative theory, this chapter approaches this excess as the result of a dialogic situation of meaning-making, where the audio-viewers strive to make sense of what they see and hear on stage or screen. The concept of allegory is evoked to approach the processes of meaning-making in hypermedial opera, drawing attention to how opera incites reading while at the same time withholds a coherent, univocal meaning. Allegory also helps recognize that the reading of opera involves not only text and image but also music and the voice. By contrast, the perception that the singing voice escapes signification is understood here as an effect of immediacy. Louis Andriessen’s and Peter Greenaway’s Rosa serves as the main case study.

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