Естрадний вокал у контексті синтезу мистецтв

Abstract

У статті визначено, що естрада як явище культури відрізняється синтетичністю. Охарактеризовано естрадний вокал у контексті подібного синтезу мистецтв, який перетворює сценічний номер на перформанс. Доведено, що естрада – це поєднання компонентів вокальних технік, театральних та хореографічних елементів, а також охоплює сукупність візуальних образів. Зроблено висновок, що все це дає естраді змогу формувати художній простір сучасної культури та бути одним із найвпливовіших елементів масової культури.

В статье определено, что эстрада как явление культуры отличается синтетичностью. Охарактеризован эстрадный вокал в контексте подобного синтеза искусств, который превращает сценический номер в перформанс. Доказано, что эстрада – это сочетание компонентов вокальных техник, театральных и хореографических элементов, а также включает совокупность визуальных образов. Сделан вывод, что все это дает эстраде возможность формировать художественное пространство современной культуры и быть одним из самых влиятельных элементов массовой культуры.

The main task of this work is to demonstrate the synthetic nature of the variety as a cultural phenomenon, as well as the characteristics of pop vocal in the context of such synthesis of the arts, which turns the stage number into a performance. The methodology of research, because of the specifics of this article’s topic, requires a combination of methods of musicology, theater studies and cultural studies. Scientific novelty of the article is that in this paper, the pop music and, accordingly, pop vocal are presented not in isolation from other components of the stage number. The variety is a combination of components of vocal techniques, theatrical and choreographic elements, and also includes a set of visual images. Thus, all this allows the stage to form the artistic space of modern culture and be one of the most influential elements of mass culture. Modern artistic culture, which develops in the conditions of a new information society, is characterized by plurality, multi-vectority, contradictions, conflict and coexistence of various artistic tendencies that require study and comprehension. Accordingly, there are a significant number of research papers devoted to various aspects of the formation and development of classical genres of musical art, the activities of outstanding performers and educators in the field of academic music and education. However, throughout the history of artistic culture, along with classical samples, there are significant layers of musical culture, also require serious analysis. This is the so-called “entertaining music” that existed, meanwhile, at all times. To “entertaining music” it is customary to attribute the art of pop, although it does not always perform such a function. Moreover, the very concept of “pop music” (or “popular music”) already carries some kind of negative meaning, hence the birth of the term “pop”, which is just as neglected as musicians of the classical direction, jazz or rock-musicians. But in reality, the pop music is a complex phenomenon, it can be equated with an open system that develops under its own autonomous laws. Thus, the pop and pop vocal are of relevance in the context of studying them as phenomena that are synthetic in nature and give rise to a separate field of culture. Today, before the system of musical education, which finally turned to the art of pop art, there is the problem of creating such pedagogical conditions in which future professional artists and educators will find a clear understanding of the significance not only of commercial success but also of its role in expanding the artistic cultural space. When their success will contribute to the formation of taste in a large number of listeners and spectators who love and willingly attend pop concerts, increase their artistic needs, and then the entertainer will cease to feel a representative of the art of “second grade” and become equal with the representatives of academic art. This is a very important aspect that contributes to enhancing motivation for learning and opens the way to a new spiritual environment. In this paper, the pop music and, accordingly, pop vocal are presented not in isolation from other components of the stage number. The variety serves as a combination of components of vocal techniques, theatrical and choreographic elements, and also includes a set of visual images. Thus, all this allows the stage to form the artistic space of modern culture and be one of the most influential elements of mass culture. Thus, pop art is a complex open system that is characterized by autonomy but also a synthetic integrity of not only elements and techniques of folk, academic vocal, manner, which are characteristic exclusively for the stage, but also the individual image of the vocalist, who needs to be simultaneously not only a singer, but also to have choreographic, plastic, acting and dramatic art. It is important to note the synthesis of the development of pop vocal art and, accordingly, acting art. Scenic skill is acquired in the process of theoretically mastered the basic laws of acting techniques and practical classes. The acquisition of stage skills must go hand in hand with improving voice performance. To achieve stage mastery you can study, supervise the play of outstanding artists, as well as practical realization on the stage of the acquired knowledge in the educational situation.