Вправи для розвитку вокальної техніки Одарки Бандрівської у контексті європейського досвіду ХVІ–ХХ століть

Abstract

У статті досліджено вправи з технології співу у вокально-теоретичних трактатах ХVІ–ХХ століть. Зроблено їх порівняльний аналіз відповідно до методичних порад і технічних вправ Одарки Бандрівської – української камерної співачки, викладачки Львівської консерваторії ХХ століття. Охарактеризовано внесок видатної вокалістки у контексті широкої історичної панорами технологічних засад вокальних вправ європейських шкіл.

В статье исследованы упражнения по технологии пения в вокально-теоретических трактатах XVI–ХХ веков. Сделан их сравнительный анализ в соответствии с методическими советами и техническими упражнениями Дарьи Бандривськой – украинской камерной певицы, преподавательницы Львовской консерватории ХХ века. Охарактеризован вклад выдающейся вокалистки в контексте широкой исторической панорамы технологической базы вокальных упражнений европейских школ.

Scientists point out the special significance of technical exercises in the cultivation of a European singer of the sixteenth and twentieth centuries. The attention is focused on exercises on technology of singing and methodical principles of Odarka Bandrіvska. Odarka Bandrіvska is a Ukrainian chamber singer, teacher of the Lviv Conservatory of the last century. Famous Solomia Krushelnytska is the aunt of O. Bandrivskа and at the same time her teacher of singing. O. Bandrivska had a different education, studied in different countries. Odarka Karlіvna is a pianist in the city of Lviv and Vienna, studied vocals in her native city and in Italy. She graduated from the Faculty of Humanities of Lviv University; Higher Musical Institute; Conservatory of the Polish Music Society; Piano Department of the Vienna Academy of Music; Vocal internship completed in Italy in S. Krushelnytska (in 1928–1929). The article established that in the methodological work of O. Bandrivskа the important position of the theoretical treatises of European singers is maintained in relation to the advantages of the practical basis in the teaching process and the significant role of technical exercises in the growth of the singing voice. Odarka Bandrіvska creates a concept of chamber singing, the basis of which is the consistent observance of the thesis on the unity of figurative and semantic and virtuoso-technical components of execution. The technology of performing skills in the teacher class also has its methodical basis. In the process of working with a student Odarkа Bandrivskа individually picked up exercises for the development of engineering performance. The manuscript of Odarka Karlivna, published by her student Tamara Didуk, provided a wealth of material for reflection and analysis of this important aspect of learning. The musical material contains various vocal exercises, which are organized on the principle of growth and expansion of the singing band, a certain complication of melodic-rhythmic parameters. A certain impetus and a kind of epigraph for each exercise is the statement of Solomia Krushelnytska – the teacher of Odarka Bandrivska himself. Thus, the teacher in each case uses the most appropriate exercise options to correct existing deficiencies. Such technological exercises are built on the principle of increasing complexity and functional purpose: at first – scenes, then technical exercises, and finally – vocals. In vocational training vocal plays a very important role: together with exercises, they are the main basis for the formation of professional voice. From the very beginning of singing, much attention must be paid to simple vocal melodies and rhythms with a small vocal range, which mainly cover the middle voice register. The exception can be if the student is sufficiently prepared – has a large range, developed and smoothed voice registers, pure intonation. To study vocals is necessary for the development of basic professional skills: vocal breathing; smooth, free voice of the voice (cantylena); smoothed registers; comforts in singing transient sounds; development of mobility, flexibility of voice; gradual expansion of the range; achievement of high sounding position, vowel alignment, etc. They are not only material for the development of technology in singing, but also the basis for the detection of the timbral features of the voice, the development of the ability to use the dynamics of sounding. Later it brings the singer to the artistic expressive singing of texts with text.