CHAMBER-VOCAL WORKS OF UKRAINIAN COMPOSERS OF XIX CENTURY IN REPERTOIRE OF SPECIALISTS DIRECTION “FOLK VOCAL”
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 19, Issue 2
Abstract
The vocal training of the singer is a rather complex and lengthy process. It includes many stages associated with voice, training intonation and vocal accuracy, adhering to all the components that form the basis of professional crafts- manship. When studying ways to raise the level of vocalist necessary to use different techniques. However, the purpose of any preparation is the correct reading of the musical material, its skillful execution. In forming the vocal skill of the singer, who chose folk style as a base for himself, the lion’s share of the repertoire is made up of folk pieces. However, we can testify to the fact that it is not possible to build the entire process of training specialists and their concert activities exclusively on populist material. Of considerable interest are the chamber and vocal works of Ukrainian composers, who not only have a lot of folk roots, but also contribute to the reproduction of important factors. Accordingly, one should consider the peculiarities of those chamber-vocal works that can be used in the preparation of folk vocalists. Among works that need to be included in the repertoire of folk singers there are chamber and vocal pieces by M. Lysenko. The founder of the Ukrainian composer school made great achievements in the field of vocal art. Many successions written in the texts of t. Shevchenko are in his legacy. Due to the fact that Lysenko paid a lot of attention to the preservation of Ukrainian folklore – he collected songs, worked out – his author’s chamber and vocal works are also close to the poetics of folk songs, both figuratively and substantively, and in intonation. The works of the leading compos- ers of the XIX century show a close connection with folk leakages, which may manifest themselves at different levels of interaction with folk art. This may be the processing of a folk song, the citation of individual elements – intonation turns, typical rhythm formulas, modes, the reproduction of which appears to be the task of the singer. In addition, it is possible to use both sound-imaging elements and sound-imaging, related to the play of folk instruments (kobza, lyre, sopilka, violin) in the piano party, where the task of the pianist will be their correct reading. Such a connection with folk tradition is an essential feature of Ukrainian composer’s art, which must be taken into account when performing them. The presence of folk elements in composite works imposes certain obligations of creative order on those who interpret them. Performer-vocalist must perform the work in accordance with the laws that are available when singing folk-song material of the genre-oriented direction. Similarly, the pianist must not only skillfully perform his own party, but also strive to reproduce the sound of folk instruments, which is possible under the condition of extensive analytical work con- ducted by the performers.
Authors and Affiliations
Galina VASILIEVA, Elena BOROVITSKA
Keywords
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