Вплив естетики звукозапису на формування і становлення техніки співу естрадних виконавців

Abstract

У статті досліджено вагомі чинники аудіовізуального мистецтва з боку звукозапису, що впливають на результат роботи естрадного співака в умовах студійного процесу. Проведена паралель між використанням мистецьких технологій звукозаписуючих компонентів у період концертної та студійної діяльності. Охарактеризовано вплив комп’ютерних музичних програм на основі естетичного сприйняття, що впливатиме на фахову майстерність співака, підкріплюючись перспективами обробки звуку під час виступу.

В статье исследованы весомые факторы аудиовизуального искусства со стороны звукозаписи, влияющие на результат работы эстрадного певца в условиях студийного процесса. Проведена параллель между использованием художественных технологий звукозаписывающих компонентов в период концертной и студийной деятельности. Охарактеризовано влияние компьютерных музыкальных программ на основы эстетического восприятия, которые влияют на профессиональное мастерство певца, подкрепляясь перспективами обработки звука во время выступления.

The article examines the important factors of audiovisual art, on the part of the recording, influencing the result of the performance of the pop singer in the conditions of the studio process. A parallel between the use of artistic technologies of the recording equipment during the concert and studio activity is carried out. Characterized by the influence of computer musical programs based on aesthetic value, which influence the professional skills of the singer, reinforced by the outlooks of sound processing during the performance. Musical technologies provide opportunities for performers to use all technical means of expressiveness of a work. Synthesis of musical programs, studio processes and artistic work of the vocalist is embodied in the scientific activity and practical directions of the managers responsible for the development of the new product. Modern computer systems of work on works fulfill a sufficiently substantiated position in the sense of a creative work of the artist. The technologies of studio recording and concert practice have occupied top priority niche in pop art, from well-known singer to unremarked performers and musical groups. However, the importance of sound recording is not sufficiently highlighted in the art criticism, which prompts certain tasks. In addition to technological peculiarities, there is a factor in the aesthetic direction in the recording, which must be complemented by the skill and professional knowledge of the pop singer. The questions of comprehension of the sound recording in the aesthetic interpretation of the performers has in sufficient number of grounds in the analyzed works, because it appears in somewhat obscure and experimental form of vocal theory and practice regarding contemporary pop art. Since the formation of sound recording went in parallel with the development of radio, photography and cinematography, the spheres of activity mutually influenced each other, so the questions of the artistic and aesthetic status of the recording, is still discussed in professional creative circles of musicians. However, if the problems of cinematography and photographic art are dealt with quite a lot of theoretical issues and their solution, then from the part of art studies, the scientific literature in the field of sound recording of pop performers has been analyzed in insufficient quantity. The scheme and specificity of processing a musical composition with the help of computer programs now have not found enough coverage in modern musicology literature. However, the practice of pop culture development demonstrates the remarkable importance of technology in contemporary musical art. This fact gives rise to the study of this problem, revealing the main stages of work on the creative work of pop singers.