Kaushnyan Y. Vocalization in Ukrainian music: traditions and genre and stylistic innovations

The dissertation studies the problems of “singing without words” specification in the Ukrainian vocal art of the second half of the twentieth century on the basis of a systematic study of its origins and genre - stylistic evolution. The actual definition of the term “vocalization” is offered in the dissertation. Instructive vocalizations have been studied as well as related vocal and intonational exercises in the practice of the world and Ukrainian vocal schools. Samples of artistic vocalizations in Ukrainian music have been analyzed in accordance with the proposed classification. The dissertation studies the problems of “singing without words” specification in the Ukrainian vocal art of the second half of the twentieth century on the basis of a systematic study of its origins and genre and stylistic evolution. The material of the study includes widely recognized samples of contemporary Western European and national music of the second half of the twentieth century: I. Vilinska's collections (“Vocalizations for the High Voice” (1959), “Vocalizations for the Middle Voice with the Piano" (1961), "Vocalizations for the Low Voice with the Piano") (1962), collection of “Vocalizations” by V. Krohmal (2004); translation of vocalizations by G. Concone and F. Abt for ensemble and choir from the collection of I. Farafonova and V. Portnoy “Rounds of Music over the World” (2016); P. Golubev's Work “Tips for Young Vocal Educators" (1963), V. Lukanin “Training and education of a young singer” (1983), K. Masliy “Developing the singer's voice” (1996); artistic vocalizations: M. Zherbin “Prelude vocalization”, S. Lyudkevich “An ancient song”, Y. Meytus “Gulnar Dance” from the Makhtumkuli opera, V. Gubarenko “Vocalization” from “Poem” for voice with Chamber Orchestra No. 21, V. Solyanikov “Vocalization No. 1”, “Vocalization No. 2”.