Техніка форсованого співу в естрадному вокалі

Abstract

У статті визначено, що форсований спів є своєрідною технікою та останньою тенденцію в естрадному виконавстві. Розроблено методологію дослідження, яка відрізняється міждисциплінарним характером, оскільки музикознавство тут межує з психологією, акустикою і навіть з основами фізіології та гігієни. Представлено форсований спів як не лише проблемну тенденцію, а й також і техніку. Доведено, що форсований спів може бути технікою, яку використовують частково у розвитку майстерності естрадного виконавця, але не на початкових етапах його діяльності.

В стетье определено, что форсированное пение является своеобразной техникой и последней тенденцией в эстрадном исполнительстве. Разработана методология исследования, которая отличается междисциплинарным характером, поскольку музыковедение здесь граничит с психологией, акустикой и даже с основами физиологии и гигиены. Охарактеризовано форсированное пение в качестве не только проблемной тенденции, но также и техники. Доведено, что форсированное пение может быть техникой, которая используется частично в развитии мастерства эстрадного исполнителя, но не на начальных этапах его деятельности.

It is determined that forced singing is a particular technique and the latest tendency in pop performances. The main problems connected with forced singing are singled out. Variety vocals are characterized by an accelerated change in tendencies, which often lead to negative results. Forced singing – a phenomenon in pop performances, the attitude to which is rather ambiguous, and one of these tendencies. The human voice has long been recognized as the oldest and most flexible musical instrument. Combining into a single whole, musical accompaniment, lyrics, and shades of human voices can make such an impact on the public like no other musical instrument taken separately. As a listener, a person naturally perceives the sound of a human voice as the center and the main focus of a musical work. But the acoustic flexibility of the voice in singing words, forming phrases and transferring emotions also makes it the most complex tool for mastering. In this paper, forced singing is presented not only as a problem trend but as a technique, which, although difficult for mastering and physiology of the singer, can still be mastered in the initial stages of teaching vocal. The methodology of the research, which differs from the interdisciplinary character, is developed because musicology here borders on psychology, acoustics and even the basics of physiology and hygiene. In particular, the systematic approach to the study of forced singing has been applied. The forced singing is presented as not only a problem trend but also a technique that, although difficult for mastering and physiology of the singer, can still be mastered in the initial stages of teaching vocal. It has been proved that one of the most difficult problems of vocal pedagogy is the need to teach the vocalist to sing without the tension of the larynx and vocal cords, but to properly master the special skills of extreme vocals from scratch without being able to control their voice well is impossible and dangerous. It was noted that this would lead to the fact that a person would not only not be able to sing, but also risk losing his or her spoken voice. It is concluded that improper singing, constant sound propagation inevitably leads to vocal cord disease. It is highlighted that the question of the restoration of the vocal system is very subtle and delicate, and the habits developed over the years, are eliminated with difficulty because there is muscle memory. It has been characterized that the process of voice recovery can be quite lengthy: in the group at risk are children’s unscrupulous voices. It was concluded that in the training of singing is the very important stage of development: step by step, from simple to complex. Special studies aimed at studying the state of vocal folds and vocal cavity at the singers during the formation of sounds of different heights, found that when the formation of low and medium sounds, vocal folds look like two thick cushions, tightly pressed against each other. The voice is only complete and rich when the fluctuations of the larynx occur at a frequency of 5–6 times per second. If the frequency fluctuations reaches 7–10 times, then we perceive this sound as trembling. When spastic reduction of the muscles of the vocal apparatus vibrate is impossible, and the voice is straightforward. The loudness of the muscles of the vocal apparatus also prevents normal vibration of the sound, resulting in a “rotation” of the sound. Disadvantages vibrate appear when forced singing to the end of the singing career, when the tone of the laryngeal and vocal muscles decreases. It is in young singers that there are a large number of functional disorders of voiding without visible inflammatory pathology from the mucous membrane of the upper respiratory tract. The forced singing, according to observation data, often led to the continuity of vocal folds and the formation of so-called “knots of singers”. Thus, forced singing is the result of the irresponsible attitude of the teacher towards the student’s vocal apparatus, the result of “hopping” through one or several stages of vocal development, the result of disregard for the quality of vocal performance, and the pursuit of external brightness, efficacy. It has been characterized that forced singing can be a technique used partly in the development of the skill of pop performer, but not at the initial stages of its activity.