A_ G. Vocal art of Inner Mongolia in the context of the development of Chinese music of the 20th – early 21st centuries.

The thesis is dedicated to the study of the specifics of the vocal art of Inner Mongolia, an autonomous region of the People's Republic of China, and to the understanding of the creative achievements of its leading composers and vocal performers. The relevance is argued by the theoretical uncertainty in Ukrainian musicology of regional aspects of the development of Chinese vocal art, in particular the formation of the traditions of the academic vocal school on the territory of Inner Mongolia, and the urgent need of modern science and practice in the study of globally recognized compositional and vocal performance work of its presenters, which corresponds to the modern trends in the manifestation of the dialogue of cultures and the interpenetration of different mentalities. The object of research is Chinese musical art of the 20th – early 21st centuries. The subject is the specificity of the vocal art of Inner Mongolia in the context of the development of Chinese music in the 20th – early 21st centuries. For the first time in Ukrainian musicology, the subject of special theoretical consideration in this thesis was the vocal art of the Inner Mongolia Autonomous Region in its systemic integrity, the unity of aspects of compositional creativity, performance and professional vocal education. The functioning problems of the vocal art of Inner Mongolia were comprehensively covered in scientific and theoretical context in the musicological discourse with the conceptualization of its regional and stylistic specificity. The specifics of the vocal art of the region is concieved in the context of modern processes of globalization and glocalization, multiculturalism, understood from the standpoint of intercultural communication and dialogic "East - West" crossings, and investigated in the problematic field of regional music. The vocal art of Inner Mongolia is characterized as a regional phenomenon with its trajectory of historical development and considered as an integrative system-semantic integrity in the artistic space of the Celestial Empire, formed through the complex interaction of regional, national and international stylistic factors on the basis of deepmeaning connections with the Mongolian ethnic tradition and folk songs practice. The thesis outlines the dynamics of the historical development of professional vocal art in Inner Mongolia and its role in the artistic and stylistic processes of the musical art of the Celestial region in the 20th - early 20th century. It summarizes the information on the peculiarities of the formation and regional adaptation of the traditions of the academic vocal school and the constitutive principles of bel canto in vocal performance practice and the system of vocal education of the Inner Mongolia Autonomous Region. The role of Ao Deng Gaova, the first soloist of the creative group of culture workers of Inner Mongolia, was revealed in these processes. The thesis identifies specific features of the academic vocal art of the region such as perception of the world experience of professional vocal creativity, academic vocal traditions as a formed integrity of creative-performance and methodical-pedagogical instructions; unity of executive, scientific-theoretical and pedagogical components; the significant role of foreign artists of musical art, specialist vocalists in the formation of the regional version of bel canto in the context of the national musical culture of the Celestial Empire; focus on its artistic representation and popularization in the space of world culture, active development of the system of higher professional vocal education; synthesizing bel canto stylistic principles (both national and regional) and folk and variety vocal performance in the performance of outstanding singers of the region.