The problem of stage culture in amateur vocal-instrumental group

The purpose of the article. The aim of the article is to identify and reveal aspects of the development of amateur vocal art, the qualities of a musician and teacher who are aware of the values of artistic action and fully immerse, perceive, feel and immerse themselves in the content of works. The urgency of the problem is due to the fact that the training of future musicians and teachers should be based on their competence and awareness, which will lead to the quality professional training of amateurs in vocal and instrumental groups who will have fundamental abilities and master the art of seeing, creating and feeling. Methodology. Leading methods of research of this problem are methods of analysis, synthesis, comparison, and historical comparison, which will help to recognize the features and professional competencies and skills that make up the stage culture of an individual member of an amateur folk group, revealing issues from a broader paradigm to narrower and clearer understanding systems. Scientific novelty. The article reveals and substantiates the essence of the concept of "stage culture", current trends in vocational training, considers the theoretical foundations of this set of qualities, its impact on teaching and the gradual formation of structural components of the phenomenon, its relationship with amateur and folk vocal and instrumental teams; components of stage culture, ways of its formation in artists and its influence on folklore and folk art are revealed. Conclusions. The materials of the article are of the practical and theoretical value for students, future teachers, music teachers, artists, vocalists, and other artists who are engaged in professional and personal self-development and want to have such an integrated quality as stage culture that will significantly improve their abilities and skills. will contribute to the success of music and pedagogical work in schools and independent creative activity. Keywords: folk groups, musician, art, traditions, folklore, pop and stage sphere.

Variety and vocal art in the context of development mass culture

The aim of the work is to study pop and vocal art in the context of the development of mass culture, which is genetically determined and mediated by a number of its characteristics and traits. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty lies in the expansion of information on the development of pop and vocal art in the context of mass culture and the mediation of its main characteristics by the formats of mass art. Conclusions. The study found that the modern system of pop art, combined with the show business, reflects the state, trends and prospects of pop music, which can be improved by understanding the socio-cultural significance of mass culture and popular art, as well as a developed sense of responsibility the creators of mass culture. The development of musical variety should be based on the generalization of previous creative experience and inherited compositional and performing traditions. The current realities of socio-cultural life determine the fact that the substantive and professional components of pop music should be based on both traditional artistic and aesthetic ideas and the search for new views on art, relevant to modern trends, tendencies and spiritual needs of society. The intensification of the musical-performing process leads to the discovery of new horizons of mastering the artistic and creative space, which, in turn, will help update the paradigm of pop art, focusing on modern pop music as an important phenomenon of socio-cultural life.

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.

Creative principles of Mykola Manoilo’s vocal pedagogy

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

Tahrir as a Non‐Verbal Musical Element in the Art of Avaz

The essay explores the phenomenon of tahrir, one of the most important elements of the avaz vocal art in Iranian classical music. As a hereditary avaz performer and an active concert soloist who has sung in this tradition for a number of years, the author bases his reasoning on the extensive practical experience of several generations of Iranian singers. As a result, instead of interpreting tahrir as a purely ornamental device, which is quite a widespread approach to this phenomenon, the author presents its detailed explanation as an extra-verbal multifunctional element in the evolvement of the avaz sonic texture, noting its deep semantic, psycho-emotional and form-structural meaning in each particular musical utterance. Audio files and music examples are attached to the essay.

Bel canto sangonderrigbeginsels met spesiale verwysing na die begrip appoggio – ʼn tweedelige ondersoek in die pedagogiek van Werner Nel (Artikel 1)

Opsomming Gedurende sy vaste ampstermyn (1974–2010) as sangdosent by die Skool vir Musiek van die Potchefstroomse Universiteit vir Christelike Hoër Onderwys – sedert 2004 bekend as die Noordwes-Universiteit (Potchefstroomkampus) – is Werner Nel verantwoordelik vir die tegniese ontwikkeling wat sangstudente sou benodig om vokale kunsmusiek in die Europese tradisie uit te voer. Hierdie artikel ondersoek die stemtegniese beginsels wat Nel gebruik het om sy studente op te lei, met spesiale verwysing na die sentrale en kennelik moeilike begrip appoggio. Laasgenoemde is ʼn kernbelangrike stemtegniese en -estetiese ideaal van die bel canto sangtegniek en dit word gevolglik in hierdie artikel as vertrekpunt gebruik om Nel se onderrigmetodes, onderrigbeginsels of opvoedkundige benadering rakende effektiewe asemhaling vir esteties bevredigende klankproduksie in oënskou te neem. Die metodes van data-insameling vir hierdie enkele, beskrywende gevallestudie sluit beide ʼn tradisionele en sistematiese literatuuroorsig van die bel canto sangtegniek in, sommige van Nel se handgeskrewe en getikte dokumente, asook semi-gestruktureerde onderhoude met Nel en geselekteerde deelnemers wat by hom gestudeer het en wat huidig professioneel werk as sangers en pedagoë. Abstract During his fixed tenure (1974–2010) as singing lecturer at the School for Music of the Potchefstroom University for Christian Higher Education – known as the North-West University (Potchefstroom campus) since 2004 – Werner Nel was responsible for the technical development that singing students would need to perform vocal art music in the European tradition. This article investigates the voice-technical principles that Nel used to teach his students, with special reference to the fundamental and admittedly difficult concept appoggio. The latter is a voice-technical and aesthetic ideal of core importance for the bel canto singing technique and accordingly it is used in this article as a point of departure to examine Nel’s teaching methods, teaching principles or educational approach concerning effective breathing for aesthetically pleasing sound production. The methods of data collection for this single, descriptive case study includes both a traditional and systematic literature overview of the bel canto singing technique, some of Nel’s handwritten and typed documents, as well as semi-structured interviews with Nel and selected participants who studied with him and who currently work professionally as singers and pedagogues.

Classical crossover in the modern musical space of Ukraine

The purpose of the article is to consider the genesis of the classical crossover and traces its path of development in the Ukrainian cultural and artistic space. The methodology involves a combination of historical and cultural, analytical, and comparative methods, which clarified the place of the classical crossover in modern music culture. The scientific novelty of the study is that for the first time in Ukrainian science, Ukrainian representatives of the classical crossover are considered. Conclusions. At the turn of the 20th – 21st centuries one of the areas that synthesize the achievements of academic and variety (rock, pop, electronic music) art has become a classic crossover. The origins of this trend are more ancient and go back to the 1960s when the first attempts were made to synthesize academic and variety performance. Famous Ukrainian singers of the academic school D. Hnatiuk, Yu. Gulyaev, A. Mokrenko, D. Petrinenko, L. Ostapenko performed both classical and variety works. Today, a striking example of the synthesis of academic and variety vocal art is the duets of F. Mustafayev – T. Samaya and V. Stepova – V. Sinchuk. Ukrainian singer, soprano of the new generation Arina Domski is the only representative of the Ukrainian scene, which consistently turns to the direction of the classical crossover, synthesizing in its performance variety and academic vocal repertoire.

MATIC IMPLICATIONS OF SUNDANESE PUPUH SONG IN BUILDING MORAL VALUES TOWARD ELEMENTARY SCHOOL STUDENTS

The title above has explained the purpose of this study, which is observing Matic's implication of children's moral values acquisition from learning activities to sing Pupuh Sunda Song in Elementary Schools – West Java. The methodology used is ethno-pedagogic because the extent of data collection and exploration were conducted toward the concept containing values that existed and lived amid the society within the context of ethnic tradition, that is, as far as signs and meanings are stored and expressed in vocal art expressions in the form of Pupuh Sunda song acted as a medium is message education praxis. Therefore, the phenomenology approach was carried out to observe a series of phenomena that can be analyzed during the concept values repeated into the performer's subconscious, the song, movements, and expressions in shared or personal situations. The stressing keyword point in this study is the repetition that can be assumed as a mechanical act on every subject learn to sing moral message content sung. The mechanical process activities result by repeating song memorization, expressing moral values inside the song. Qualitatively, it can be described as an automatic implication that has the potential and function as a fostering for the concept of value in building the expected character. Such as the direct utterance stored in the song containing the invitation and teaching always to be cheerful, accept everything with generosity, care to all being (compassionate), diligent in studying and fond of working, respecting the parents and teachers, love to the homeland and defending the state and nations, which becomes the focus of study.

PRACTICAL WORK ON VOICE TRAINING, PART V. WORK ON A WORK OF 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.