Специфіка вокально-джазової культури виконавців

Abstract

У статті розглянуто специфіку вокально-джазової культури виконавців, яка визначається особливими способами інтонування, ритмічною основою, манерою виконання, джазовою гармонією, джазовою атакою, специфічним фразуванням, артикуляцією, використанням унікальних прийомів джазового співу, імпровізацією на основі сформованих джазових стандартів. Проаналізовано джазовий та академічний вокал.

The article is about the specificity of the vocal and jazz culture of performers, which is determined by special methods of intonation, rhythmic basis, manner of performance, jazz harmony, jazz attack, specific phrasing, articulation, using unique techniques of jazz singing, improvisation based on established jazz standards. Jazz and academic vocal are analyzed. Specificity of vocal-jazz culture of performers is determined by special methods of intonation, rhythmic basis, jazz harmony, jazz attack, specific phrasing, articulation, using unique techniques of jazz singing, which distinguish the manner of performance and improvisation on the basis of established jazz standards. Vocal genres, which are based on Afro-American folklore, has changed the culture of jazz music and has filled it with special expressive means and performing techniques such as blues melody and its intonation, glissando vocal techniques, death-tones, and also features such as falsetto, subton, groul, vibrato, filing, use of nasal and throat sounds. Comparative analysis of jazz and academic vocal allowed distinguishing the following aspects: 1) the academic vocalist should realize the composer’s intention fixed in the text the most accurately. Elements of improvisation were only in arias dacapo of the XVII–XVIII and partly in operas of the XIX; 2) the important priorities of academic singing are its aesthetic beauty, technical perfection (this is the reason for strict requirements to voice, technique, voice); 3) the verbal and poetic side of the academic vocal work is as important as the musical one. Features of jazz vocal consist in the following: 1) first of all jazz vocalists are improvisers and interpreters. Freedom of the vocalist is not limited to the musical text and directions of the composer (the singer also is the author); 2) the beauty of the sound of the voice does not play a big role because attention is focused on achieving interesting of jazz phrasing, special intonation, rhythmic, swing and the like; 3) jazz vocal is more “instrumental” than academic. Vocalists do not often oppose the voice to the instrument, but imitate instrumental techniques and sound; 4) the instrumental singing became the reason for a formal attitude to the poetic text or rejection of it.