Vocalise as a Synthesis of Vocal, Instrumental, and Composition Arts

Abstract

The purpose of the article is to investigate the features of vocalise as a synthesis of arts – vocal, instrumental, compositional. The research methodology is based on the synthesis of approaches integrated from musicology, cultural studies and art history. The main methods used in the study (analysis, synthesis, bibliographic, generalisation) made it possible to determine the features of vocalise as a genre of vocal art. The scientific novelty lies in the presentation of the genre of vocalise at the intersection of vocal interpretation, instrumental accuracy, and freedom of compositional creativity. Conclusions. Vocalise as a genre of wordless vocal music-making appears in contemporary art as a multifaceted phenomenon that combines pedagogical, performing, and compositional vectors. Functional polyphony, as well as the ability to accumulate instrumental thinking and the vocal nature of the human voice, make it possible to consider vocalisation as a synthetic form of musical expression that goes beyond the traditional vocal genre. The importance of vocalisation as a genre is due to the fact that it implements the laws of interspecific interaction of vocal and instrumental thinking. On the one hand, vocalisation represents the voice as an instrument with a flexible range of expressive means, and on the other hand, it requires the performer to have instrumental logic of phrasing, structural clarity, and subtle stylistic intuition. Thus, vocalisation in modern performing and composing practice appears not only as a form of vocal training or a genre miniature, but as a self-sufficient musical space in which a dialogue takes place between vocal emotionality and instrumental accuracy. In this context, vocalisation should be considered as a means of forming the singer’s artistic intention and a field for interpretative freedom, within which the latest trends in academic singing are realised, in particular within the Ukrainian vocal school.