scholarly journals Creative principles of Mykola Manoilo’s vocal pedagogy

2021 ◽  
Vol 60 (60) ◽  
pp. 200-215
Author(s):  
Markovych Mykhailo
Keyword(s):  
Basic Research ◽  
Vocal Pedagogy ◽  
Practical Significance ◽  
Bel Canto ◽  
Vocal Art ◽  
Scientific Reflection ◽  
Chamber Repertoire ◽  
Great Persistence ◽  
Creative Self ◽  
Artistic Image

Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: ● orientation on the generally accepted standard of sounding of a voice (bel canto); ● persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; ● word culture; ● unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; ● psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; ● mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: ● recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); ● clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; ● cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); ● integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class

scholarly journals “Vocal style” in Western European and Chinese art history: a comparative analysis

2020 ◽  
Vol 57 (57) ◽  
pp. 286-296
Author(s):  
Yi. Zhou
Keyword(s):  
Comparative Analysis ◽  
Individual Performance ◽  
Chinese Art ◽  
Vocal Performance ◽  
Bel Canto ◽  
The West ◽  
Western European ◽  
Vocal Art ◽  
The Aesthetic ◽  
Definition Of

Background. The category of style is one of the most used in modern musicology. This is due to objective reasons: the attention of the “consumer” of a cultural product is mostly not focused on its author recently. The coexistence of individual performance versions of composer’s works is one of the reasons that problems of stylistic attribution of musical art do not lose their relevance. In different areas of musical practice these problems are interpreted in different ways and get various degrees of theoretical understanding. The area of vocal art deserves special attention. An analysis of specialized literature suggests that the ever-increasing number of appropriate studies has not yet influenced the crystallization of the definition of “vocal style” in the scientific sense. This is due to the fact that the meaning of the term “vocal style” has many dimensions that reflect technological, aesthetic, historical, individual and national parameters of creativity. This resulted in the purpose of proposed article – to identify the singular and general in the interpretation of the category “vocal style” in Western European and Chinese art discourse. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. The word style first appeared in ancient Greece, where it was called a tool for writing on wooden tablets covered with wax. Later, the word style began to be used to describe not only human activity, but himself. At the same time, there is no case in Confucius’s “Analects” of using this definition. Central to the aesthetic block of Confucius’ teaching is not the question of the style of art, but the degree of influence that it has on the formation of the five moral qualities. As for questions directly about the style of artistic creation, Chinese scholars believe that they were first addressed by a contemporary and follower of Confucius, literary theorist Liu Xie, in whose works for the first time in the history of Chinese culture the word “style” was used. We note that in both Europe and China the studies of ancient thinkers have become the foundation for centuries and millennia that determined the essential parameters of the worldview of peoples and civilizations and stimulated the development of human thought. So nowadays style is similarly understood as a certain set of features that characterize either a particular person or the results of his activities. As for a narrower understanding of style (in our case – vocal style), it historically developed much later, which was preceded by a long evolution of vocal art and the accumulation of relevant scientific works. In addition, it is necessary to take into account the specific of vocal performance, the essence of which involves working with verbal texts, their artistic representation, and, consequently, the determinism of not only musical but also artistic embodiment of the work. Thus, in European treatises of Renaissance and Baroque periods it is not about the performer, but about the style of specific musical works, basic parameters of which are determined by the place of performance and the appropriate type of expression. At the same time, there are studies which examine the national aspect of the phenomenon of vocal performance, that is perceived as a consequence of the interaction of several factors: temperament, climate and landscape. It is interesting that even in the baroque treatises maxims about the advantages of the Italian school bel canto can be found; and nowadays it continues to determine the development of not only European but also world vocal art. We emphasize that we can not find Chinese treatises dating from the XVII–XVIII centuries, which are devoted to the comprehension of vocal art in the European sense of the word. After all, academic vocal culture in this country has begun to develop only in the early twentieth century and therefore imitated and appropriated the aesthetic and technology of the dominant European vocal style bel canto. It is known that the definition of bel canto is most often used in two cases: as a designation of a certain historical style, which is most vividly embodied in works of V. Bellini and G. Donizetti, and as a designation of singing technique. So we see that, as in other performing arts, the definition of style contains two interdependent parameters: technological and artistic and aesthetic. And the latter in the case of exactly vocal schools can be interpreted as a mobile factor. The similarity of interpretation of the definition of vocal style (namely one of its varieties – bel canto) in European and Chinese art literature is the result of the fact that eastern and western cultures are gradually approaching each other in the process of historical development. Conclusions. A comparative analysis of European and Chinese scientific sources suggests that the issues of musical stylistics occupied an important place in the minds of thinkers even before our era. And although both in the East and in the West the category of style was perceived as a mean of realization of the individual worldview of the man-creator, we can still talk about the difference in vectors of study of this problem. For example, if in the East it was perceived as a fundamental part of the ethical, in the West – the aesthetic. The formation of the phenomenon of “vocal style” was a natural consequence of the development of European vocal culture, where concepts of “technique” and “style” gradually crystallized. They became the basis of European vocal art, the assimilation of which has led to the phenomenal success of the modern Chinese school bel canto.

scholarly journals PAVLO HOLUBEV’S VOCAL PEDAGOGY IN MODERN ART EDUCATION

2020 ◽  
pp. 167-171
Author(s):  
Anatolii MARTYNIUK ◽  
Keyword(s):  
Vocal Pedagogy ◽  
Individual Characteristics ◽  
Educational Process ◽  
Scientific Study ◽  
History Of ◽  
Musical Traditions ◽  
Vocal Art ◽  
Methodological Principles ◽  
Creative Talent ◽  
The Individual

Introduction. The modern vocal pedagogy is based on the methodological principles of domestic and foreign vocal pedagogy, thorough study of the musical traditions of the Ukrainian people. The issue of preserving the traditions of Ukrainian vocal art and the use of innovative ideas in further development is extremely important. The comprehensive analysis of P.V.Holubev’s artistic and pedagogical activities allows to significantly expand the idea of the the artist' work an at the same time realize its importance for the Ukrainian musical art. The artist left great achievements in the history of the national vocal school, contributing to the process of its formation and development. The purpose of the article is highlighting of vocal pedagogy of the outstanding Ukrainian artist, Professor P.V. Holubev. The methods of analysis of musical and pedagogical activity of Kharkiv singer, teacher, Professor P. Holubev. Results. Pavlo Holubev’s vocal pedagogy has distinctive features. Under his guidance, students learned not only solo, but also ensemble and choral singing. The individual lessons with students had as their main goal the achievement of equality of voice sound and the detection of unique timbre color of the sound and the gradual expansion of the range of voice in the descending and ascending directions starting from the development of the middle register; formation of a diverse palette of sound filled with overtones; performing interpretation of vocal music. It is revealed that in P. Holubev’s vocal pedagogy the following main content lines are traced: development of vocal skills, abilities; the need to introduce them into the system of teaching vocal methodology, which is based on the scientific study of national and world experience of vocal pedagogy; synthesis and constant updating of vocal methods, which takes into account the student’s individual characteristics of the voice and creative talent. Originality. After analyzing the artistic and pedagogical activity of Professor P. Holubev we can define certain scientific approaches to educational process, namely: 1) axiological approach; 2) personality-oriented approach; 3) creative and activity approach. Conclusions. Thus, analyzing the musical and pedagogical activities of the outstanding singer, teacher, Professor P.V. Holubev, we can conclude that the features of his vocal pedagogy played an important role in the Kharkiv vocal school. Scientific study of the musical and pedagogical experience of P.V. Holubev became the basis of national and world vocal pedagogy.

scholarly journals ФОРМА ЯК ЗАСІБ СТВОРЕННЯ ХУДОЖНЬОГО ОБРАЗУ В АРТ-ДИЗАЙНІ

2019 ◽  
pp. 40-47
Author(s):  
Н. Л. Базелюк
Keyword(s):  
Design Theory ◽  
Theory And Practice ◽  
Practical Significance ◽  
Art Object ◽  
Art Form ◽  
Close Relationship ◽  
Functional Features ◽  
Characteristic Features ◽  
Object Form ◽  
Artistic Image

Purpose. Disclosure of decorative and functional features of forms of art object and analysis of their creative and aesthetic content. Methodology. In the course of the research, the purpose of field surveys and generally scientific methods of analysis, synthesis and analogies were used. Results. As a result of a theoretical study, the primary stages of art-form object formation are determined; its characteristic features and peculiarities of ideological and ideological ideas and creative language are revealed. The close relationship between form and content, which forms an imaginative, symbolic, spiritual and aesthetic art object with the emotional power of influence and impression, is considered. Scientific novelty. The article analyses and explores the peculiarities of creating an art object form to convey an artistic image and an author's idea. The features and stages of forming an art object form as a complex, multifaceted phenomenon are presented, which allows becoming more aware of its functional, material and artistic features. Practical significance. Research findings can be used as promising areas for research in design theory and practice. The main defining features and features of building an art object can be applied directly in the creative work of designers.

scholarly journals PRACTICAL WORK ON VOICE TRAINING, PART V. WORK ON A WORK OF ART

2021 ◽  
pp. 22-24
Author(s):  
A. Pokrovskiy
Keyword(s):  
Basic Skills ◽  
Vocal Pedagogy ◽  
Practical Work ◽  
Voice Training ◽  
Work Of Art ◽  
Vocal Art

The article examines the General provisions of vocal pedagogy: the relevance of the issue, principles, goals, objectives and methods of teaching singing; the criteria, methods of selection and basic skills necessary for those wishing to learn vocal art. 

scholarly journals RACTICAL WORK ON VOICE TRAINING, PART III. WORKING ON THE VOICE

2020 ◽  
Vol 6 (7(76)) ◽  
pp. 11-13
Author(s):  
A.V. Pokrovskiy
Keyword(s):  
Basic Skills ◽  
Vocal Pedagogy ◽  
Voice Training ◽  
Vocal Art ◽  
The Voice

The article examines the General provisions of vocal pedagogy: the relevance of the issue, principles, goals, objectives and methods of teaching singing; the criteria, methods of selection and basic skills necessary for those wishing to learn vocal art.

The creative path of Maria Donets-Tesseyr (based on archival materials)

2018 ◽  
pp. 89-92
Author(s):  
T. Davlatova
Keyword(s):  
Personal Development ◽  
Significant Contribution ◽  
Vocal Pedagogy ◽  
Point Of View ◽  
Educational Activity ◽  
State Archive ◽  
Central State ◽  
Teaching Activities ◽  
Personal Contribution ◽  
Vocal Art

The article examines the creative path of the famous Ukrainian opera singer and vocal teacher Maria Eduardivna Donets-Tesseyr. It provides the biographical facts about M. Donets-Tesseyr, her performing and teaching activities on the basis of archive materials of the Central State Archive-Museum of Literature and Art of Ukraine, works of her pupils and contemporaries, as well as the research of modern art. Some disagreements concerning the facts of her biography, in particular, the year of the birth of the singer, are specified in her own autobiography. This fact is first introduced into scientific circulation. The information is provided on the period of M. Donets-Tesseyr’s studies at various vocal pedagogues, as well as their influence on her becoming a soloist and vocal teacher. Features of personal and creative relations of M. Donets-Tesseyer with her vocal teacher O. Mishuga are analysed on the basis of the singer’s memories. The educational activity of O. Mishuga from the point of view of memories of M. Donetsk-Tesseyr and the statements of O. Mishuga himself is considered. These materials deal with the methodology of teaching vocals and educating an opera singer. The statements of well-known vocal teachers, in particular, O. Mishuga and V. Vanzo, concerning the issues of vocal pedagogy are given. The continuity of the pedagogical principles of O. Mishuga and V. Vanzo in the activity of M. Donets-Tesseyr, as a vocal teacher, and her personal contribution to the development of the methodology for raising high female voices, is highlighted. The peculiarities of the personal development of M. Donets-Tesseyr as a teacher of vocal art are revealed. The significant contribution of the vocal-pedagogical activity of M. Donets-Tesseyr to the development of Ukrainian opera art of the middle of the 20th century is proved.

Value aspect in forming the foundations of information culture in preschoolers

2021 ◽  
pp. 36-40
Author(s):  
I. E. Emelyanova ◽  
O. V. Kotlovanova ◽  
I. A. Sychenko
Keyword(s):  
Human Life ◽  
Preschool Education ◽  
Practical Significance ◽  
Information Culture ◽  
Digital Space ◽  
Information Awareness ◽  
The Individual ◽  
Creative Self ◽  
Ranking Information ◽  
First Time

The purpose of the research described in the article is to consider the values and imperatives that underlie the formation of the information culture of preschool children. The research methods were the study and analysis of psychological, pedagogical and philosophical literature, forecasting and reflection. Based on the results of the study, the concept of antifragile education was proposed, its methodological basis, principles and rules were determined. The practical significance of the results obtained lies in determining the components of the formation of the value basis of the preschool information culture preconditions: cognitive (the process of cognition of adequate actions in the digital space in the process of self-realization; the ability to select criteria for ranking information; awareness in the field of digital space threats that contradict imperatives and impede self-realization), behavioral with sufficient emotional and volitional reinforcement (to plan and perform a conscious system of actions), motivational and value (a conscious system of actions for self-realization in accordance with imperatives). The study revealed that the issue of personal self-identification in the redundant digital space has not been sufficiently studied. It is necessary to introduce the principles of antifragile education and continue the awareness and development of the components of the formation of the value basis of the preconditions of the information culture of preschoolers. The concept of antifragile education can form the basis of the work of teachers, starting from the level of preschool education, and the spiritual and moral values that form the basis of the concept can be very important for parents of preschoolers. For the first time, a concept is proposed that is designed to form and maintain imperatives in children, allowing for self-identification and spiritual and moral self-realization in the context of the formation of information culture of preschoolers. As the conclusions, the use of digital technologies in education was noted, and at the same time the issue of introducing the principles of antifragile education for the spiritual and creative self-realization of the individual in the new global international digital space of human life is being actualized.

scholarly journals ПРАКТИКИ ГРИМУ В FASHION-ІННОВАЦІЯХ: СПЕЦИФІКА, ФУНКЦІЇ

2020 ◽  
pp. 132-144
Author(s):  
А. Шаркіна
Keyword(s):  
Teaching Practice ◽  
Practical Significance ◽  
Scientific Development ◽  
Practical Implementation ◽  
Fashion Industry ◽  
Distinctive Features ◽  
Basic Functions ◽  
Functional Features ◽  
Artistic Image

The aim of the article is to identify the specifics and functional features of the artistic make-up in the design expressive means system at the level of joint techniques with make-up in theater and cinema. Methodology. The historical, analytical and comparative methods have been used in the study. The image-associative and stylistic analysis methods have been applied to the selected historical and modern examples of make-up practices. Summary. The specifics of theatrical make-up, make-up for cinema and fashion images have been examined on the examples of female images, common and distinctive features have been defined. The main functions of make-up have been exuded and realized by the author of the research in modern fashion images; the peculiarties of ratio of make-up with other components of the artistic image have been determined. The scientific novelty is in the actualization of the make-up problem in fashion-innovations within the scientific development, in determination of its specifics, which consists in the theater and cinema make-up artists’ basic techniques application and at the same time modern make-up, decorative, posthumous means usage. Practical significance. The relationship between traditional and innovative makeup practices in the fashion industry at the level f theoretical and methodological research and practical implementation of the makeup basic functions in the modern feale images creation have been revealed in the study. The results of the study focus on further research of the makeup types; the research results can be used in the practical activities of a make-up artist and in the teaching practice.

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