The dissertation is devoted to substantiating the cognitive view of chambervocal lyrics as a hypostasis of the singer's professional activity. The formulation of "lyrics as a type of performing tradition" arose on the basis of systematizing observations of concert-artistic presentations of compositions of various genres and styles, national traditions, which together make up the modern picture of vocal art of Kharkiv and Ukraine. The problem of educating a universal singer arises, which requires an urgent solution right now, in the conditions of globalization of the world's musical culture. Since singing is a trinity of technology, psychology and spiritual energy of the performer (homo cantor), the essence of the singer's professional activity should be visualized in the corresponding theory. Its content should be thinking – a concept that is an objective condition of performing creativity, integrating the action of the three components of a person (body – soul – spirit) through physiological, emotional and spiritual functions. We are talking about performing cognitive science as the property of a professional singer to focus his/her consciousness on the artistic, ideological and technological settings of singing for the implementation of successful creative activity.
The purpose of the study is to clarify the role of chamber-vocal lyrics in the system of performing tradition in the variety of national and genre-stylistic representations. The overarching task is to develop a theory of performing cognitive science, the essence of which will reveal the unity of national, genre-stylistic, and personal forms of representation of vocal lyrics in the singer's creative work.
The substantiation of the essence of chamber singing provides grounds for recognizing lyrics as a performing tradition, and the singer's creativity as a lyrical mode in the metasystem of vocal art.
1. The lullaby genre is considered separately as an archetype that has preserved the structural and semantic invariant of the lyrical genre, which was later transformed in the creative work of romantic composers.
2. It has been found out that the genre and stylistic tendencies of European chamber vocal lyrics have found their corresponding reflection in Ukrainian music as a manifestation of national romanticism. In the chamber compositions of classical composers, the romantic worldview is personified through the image of a lyrical hero, who appears as the author's "double". The performing cognitive science has highlighted the mechanism of the psychological encounter of homo cantor in the process of co-creation with the author and his/her alter ego (lyrical hero), which the listener observes in various communications (both secular and spiritual). This happens due to the action of the lyrical consciousness of music and its carriers, when in concert conditions the singer is able to broadcast the author's semiosphere, identifying his/her own statement with the I-image (=lyrical hero).
3. The study of the forms of representation of Ukrainian folk songs in the concert activities of prominent representatives of national culture: Kvitka Cisyk, Nina Matvienko, Taras Kompanichenko revealed the significance and prospects of one of the discourses of performing cognitive science – the phenomenology of the singer's personality.
4. Typological processes formed in the historical and stylistic landscapes of Western Europe, accordingly affected the vocal art of Ukraine. The constant essence of chamber-vocal lyrics in the process of ontogenesis of national culture, which developed from individual creative projects of artists of different generations during the 19th–21st centuries, allows us to assert the idea of the formation of the national Ukrainian tradition as an autonomous and self-sufficient "branch" of world culture. It is also about the reflexivity of the categorical status of lyrics as a type of performing tradition.
Thus, chamber-vocal lyrics, presented in the mirror of solo singing representation as co-authorship, is of a metasystem. The lyrical genre of the performing tradition is objectified in the cultural and stylistic landscapes of the modern European culture of the past and present. The status of lyrical unison in solo female performance in Ukraine appears as an established value, a continuous tradition that occurs all the time owing to the synergy of the song (folk / author's) and the singer as a co-author. At the moment of self-actualization through the "appropriation" of someone else's consciousness (I = I), singing preserves this synergy "in itself", multiplies it with new meanings and broadcasts it as a semantic model of the world, which is interesting to the listener "here and now".
