The thesis is devoted to the definition of genre-style and performance constants of the style of soul in pop and jazz vocal art of the second half of the twentieth century.
The degree of exploration of the style of soul problem was revealed in the work on the basis of historical-genetic, historical-chronological and performing approaches. The definition of the style of soul was given, which is interpreted as a certain emotional palette, genre, vocal form, vocal technique, the plurality of its meanings was ascertained. The genre-style origins of the style of soul were revealed as a phenomenon of world music culture at the levels of imagery and subject matter, dynamics, melody, rhythm, complex of performing techniques and communication with the audience. The specificity of the style of soul in the context of the musical culture of the second half of the twentieth century was substantiated at the levels of organization of musical fabric, figuratively thematic and performance specificity. The peculiarities of performing skill of the jazz singer in the style of soul at the levels of sound, sound production, dynamics, articulation and dramaturgy were analyzed.
Scientific understanding of the style of soul was improved by revealing dramaturgy of works, structure of musical fabric, figurative content, social functioning and performance specificity.
The peculiarities of performing skills are analyzed and the necessary professional qualities of the jazz singer in the style of soul are determined. It has been proven that soul-style pop-jazz vocals are a specific type of performing activity that combines various performing styles of modern and traditional vocal art, among them: folk (folk), academic and jazz. It has been found out that the singular features of the soul jazz singer in the style of soul consist in the individual timbral qualities of the voice and the methods of performance used in the modern practice of singers: reliance on improvisation, responitor technique (question-and-answer principle of musical form-formation) (creating metro-rhythmic conflicts in jazz improvisation), labile intonation ("blues tones"), shuttle effects, off-pitch, demi-tones, grail-style), belting, glissando, melisms and jewelry. The scientific provisions on the development paths of Ukrainian pop performance of the second half of the twentieth century; theories of Ukrainian musicologists on trends in pop art; sociocultural factors in the development of the style of soul, as well as its national, artistic and aesthetic essence were further developed.
The dissertation does not exhaust all possible aspects of the study of soul style in the context of the development of pop and jazz vocal art in the second half of the twentieth century. Further exploration of soul style can be continued in the direction of instrumental performance with the definition of the means of musical expression, repertoire, features of creativity of performers and composers.
