Artistic and aesthetic characteristics of vocal and pop performance as a genre synthesis of arts

The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness. Therefore, it is not an image of a fictional character, but of a person close in time and meaning to life, as she can and should be in virtual artistic reality - aesthetically sublime and morally balanced. The main components of the intertextual sphere, which is formed around the variety show and determines the special director's interest in it, are semantic positions on the singer as a semantic core of the whole moving picture of pop and stage action. It is these semantic factors that organize and lead to a holistic artistic result all the structural indicators of pop performance. Keywords: vocal and pop art, artistic and aesthetic characteristics, genre specifics, genre synthesis of arts.

Intermediality Problems in the Context of Study of Pop Vocal Performance

The article is concerned with the study of modern pop culture, which incorporates elements of various types of arts and characterized by wide versatility. On this point, for the first time ever bring forth the problem of integrating the concept of "intermediality" with the study of the performing arts of a popular mass trend. When considering the meaning of the concept of "intermediality" was revealed the versatility of its interpretation from the standpoint of studying the aspects of synthesization in literature, in painting, philosophy, philology, etc. At the same time, it is noted that in the post-Soviet and Western science, the concept of "intermediality" has different interpretations, and in this paper, it is associated with the designation of the concept of "interaction of arts", but more broadly, it involves the interaction of languages of different types of arts in the whole system.

Singing at Menopause: A Systematic Review with Pedagogical Implications

Menopause is a certainty in a female singer’s life; depletion of estrogens may lead to physical, mental, and vocal symptoms. To investigate the extent to which these symptoms affect singers, a systematic literature review was carried out using eight interdisciplinary bibliographic databases. Combinations of the following key words were used: menopause, climacterium, singing, singers, and choir. From 18 studies, including three doctoral dissertations and a master’s thesis, only 10 met the inclusion criteria. The heterogeneity of study designs and methods of data collection and analysis precluded the carrying out of a meta-analysis. Instead, descriptors of symptoms affecting the voice, and vocal characteristics associated with menopause ( menopause descriptors) were categorized, and their frequency of occurrence determined, according to six types of primary dataset: (1) self-reported symptoms, (2) acoustic characteristics, (3) observations of the larynx, (4) perceptual evaluations, (5) analysis of electrolaryngographic waveform characteristics, and (6) analysis of hormone concentrations. The descriptors that occurred most frequently in the literature concerned aspects of voice production, whereas those concerning vocal health, and vocal practice and performance, were less common. Of the three subsystems that comprise the vocal instrument, the vibrating vocal folds seem to be more affected than breathing and resonance. Changes in vocal range, timbre, endurance, and vocal fold mobility occur during menopause, affecting singers’ voice quality. Some singers reported that their ability to perform was compromised, mainly due to memory lapses and lack of confidence. Maintaining regular singing and practicing semi-occluded vocal tract exercises throughout the menopausal transition seem to help singers to overcome the negative impacts of menopause on vocal performance.

Features of Futurism Performance on the Example of the Works ‘Luna, Lussuria e Velocita’ in Ilkham Nazarov’s Interpretation

The purpose of the study is to determine the vocal performance characteristics of the ‘Luna, Lussuria e Velocita’ work, written in the style of futurism in the interpretation of I. Nazarov, taking into account the peculiarities of the timbre of his voice. ‘Luna, Lussuria e Velocita’ is written in the futuristic style and is intended for bass/countertenor and electronic musical instruments. The purpose of the research is to determine the features of the vocal performance of the ‘Luna, Lussuria e Velocita’ work composed in the style of futurism, taking into account the features of I. Nazarov's voice timbre. The research methodology is based on the use of music analytical, historical and theoretical analysis methods. The analysis of vocal performance given in the research was carried out based on the note presented by the composer and the video material performed by I. Nazarov. At the same time, a number of scientific literature on futurism was referred to. The scientific novelty of the research is that the work of Italian composer S. Muscaritolo ‘Luna, Lussuria e Velocita’ was involved in the study for the first time. The work is designed for two registers (bass/countertenor) and is composed in the style of futurism, which characterizes its scientific novelty. The work uses non-traditional playing methods for bass and countertenor. In the research, the research of vocal performance methods used by I.Nazarov during the performance was carried out for the first time. Conclusions. I.Nazarov is the first and only singer in the history of Azerbaijani music culture with a countertenor voice and boundless vocal technique. Not only Azerbaijani but also European composers create works of various genres in accordance with the possibilities of his voice. These works are new due to their features and performance requirements. In ‘Luna, Lussuria e Velocita’ I. Nazarov showed himself as a singer with high technical capabilities, able to perfectly control both the baritone and countertenor sound timbre. The singer expanded the possibilities of performing the countertenor sound timbre, which gave rise to the assessment of the sound timbre from a new position.

Fuzzy Control Based Stage Phobia Analysis System for Vocal Performers

This paper integrates wavelet sound wave analysis with a fuzzy control method to develop a stage phobia analysis system for vocal performers in order to enhance the psychological efficiency of vocal performers and reduce the effect of stage phobia on vocal performance. To achieve howling signal filtering, the frequency sub-band with howling is reversed and then superimposed with the original signal in audio processing. Furthermore, this paper incorporates the actual requirements for processing the vocal audio spectrum and builds the corresponding practical modules. Furthermore, this paper integrates the research needs of vocal performers’ stage phobia to create system function modules, and investigates the psychological activities of vocal performers using the fuzzy control system, discovers the factors that influence stage performances, and improves the psychological output of vocal performers. Finally, this paper proposes experiments to test and evaluate the system’s results. The research findings indicate that the system described in this paper has a significant impact.

Verbal-textual polyphonic technique in the Ukrainian choral music (on the example of music on Taras Shevchenko’s poetry)

Relevance of the study. In the 20th–21st centuries, searches in the field of sonoristics led to an unconventional interpretation of the sound of musical instruments and the human voice. As a result, contemporary composers are actively experimenting with vocal performance techniques. The timbresonorous quality of speech contributes to the emergence of new polyphonic techniques. The use of verbal-textual polyphonic techniques in the music of modern Ukrainian composers is becoming more and more widespread. This explains the relevance of this study. The scientific basis of the article is the insufficiently studied concept of verbal-textual polyphony by I. B. Pyaskovsky. Main objective of the study. The objective of this study is to examine the existing manifestations of verbal-textual polyphonic technique in Ukrainian choral music a cappella on the example of works based on the texts of the poetic cycle “Psalms of David” by T. Shevchenko. The scientific novelty lies in the fact that the work is the first to consider verbal-textual polyphonic techniques in the works of Ukrainian composers on the texts of “Psalms of David” by T. Shevchenko. Methodology. The following methods of research are used: versioning (analysis of the versification features of the original poetic source), semantic (interpretation of the semantic content of the musical expressiveness means, their correlation with the text), typological (based on classification of the varieties of the studied technique). Results and conclusions. The main feature of verbal textual polyphony is the phonic interpretation of speech. This type of polyphonic technique is manifested in the work with text phonemes and syntagmas, which, as a rule, have intonation-rhythmic design. The prerequisites for this type of polyphony in musical works based on the texts of T. Shevchenko are the musicality of his poetry, as well as a specific rhythmic organization — the so-called 14-syllabic kolomijka verse. All examples of this writing technique can be divided into two groups, depending on the compositional work at the phonemic or syntagmatic levels. Phonemic compositional work is carried out by segmentation, vocal accentuation and temporal extension of the sound of the syllable. Work at the syntagmatic level is embodied using the following techniques: simultaneous multi-rhythmic presentation of the same text, text imitation, ostinato, polyphonic techniques of vocal intonation on a verbal and extra-musical basis. The analysis carried out indicates that the polyphonic technique in the studied works of Ukrainian composers is formed taking into account the versification features of the Shevchenko's poetry. The results of these observations can be used in the study of the manifestations of verbal textual polyphony in vocal-choral works on a different text basis

Рreparation of lectures on musical arts in the class of vocal ensemble

The purpose of the article is to consider the methodological aspects of training music teachers in the class of a vocal ensemble. thanks to which they acquire skills and abilities that are logically correlated with vocal and pedagogical, choir tasks. It is emphasized that the main and specific component of his professional competence is primarily the ability to perform music, including vocal, which is the basis of his work on the musical development of members of a vocal ensemble or choir. The task is to reveal the main methodological aspects that are important in the process of ensemble performance, in particular, to achieve coherence, the balance of all components, harmonious sound of parts, individual vocalists, the whole group while singing. The methodology of the article is theoretical methods of analysis and synthesis, which characterize the main components of the role of each type of ensemble (intonation, metrorhythmic, diction), their organic combination, revealed the features of individual types of ensemble, the role and significance of each. It is noted that the pop vocal ensemble has specific features that characterize it as a kind of modern musical performance. He represents a new style in popular music, new forms of collective vocal performance (female, male, mixed; vocal-instrumental ensembles, rock bands, and pop groups, etc.). The scientific novelty of the work is the focus on the methods of working with a vocal group that seeks to develop their own, individual manner of performance. Conclusions. The rapid development of pop vocal performance, solo, and the ensemble has contributed to the fact that in recent decades in Ukraine has expanded the network of higher educational institutions for music and pedagogical training in "specialty singing", which provides the possibility of their professional activities as performers in vocal ensembles and, at the same time, as leaders of such collectives. and this requires proper methodological support of the educational process in institutions of higher professional education.