Artistic representations in the vocalist’s performing practice (on the example of chamber works of Chinese composers of the 20th century).
Background. The article deals with issues related to the nature of the performing arts in the field of musical art. It is emphasized that one of the most important components of the performing reading of a musical work is the developed musical thinking, which is formed by means of figurative and artistic representations. In the field of chamber-vocal performance, this process is associated not only with professional voice, but also with the ability to transmit all kinds of mental states of a person, a huge range of his feelings. Chinese chamber-vocal music of the twentieth century is a wide field of activity for a modern vocal performer. The specificity of its figurative-emotional sphere is directly connected with the national culture and the identity of national self-expression. The interrelation between the work of the chamber singer, his emotional sphere and the embodiment of the artistically imaginative content of the work in Chinese musical art requires in-depth study. Objectives. The purpose of the research is to reveal the specificity of the formation of the figurative-emotional component in the Chinese chamber-vocal art, connected with the modeling of the artist’s figurative and artistic representations. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. The methodological basis for studying this topic was the research of E.Eroshenko, T. Lymareva, I.Khotentseva, in which some theoretical aspects of the modeling of artistic-figurative representations in the musical art are revealed. Scientific works of Qin Tian and Lu Jie are aimed at mastering the performing semantics of Chinese chamber-vocal music. is of immense scientific value for both an understanding of the national traditions that form an integral part of Chinese spiritual culture, the contribution of outstanding Chinese composers to the formation and development of national musical art, and to the imaginative and artistic representations of the performer. Results. Since chamber-vocal performance is aimed at revealing the special imaginative sphere associated with the subtlest nuances of human experience, it is important to consider the synthesis of the influences of traditional mental attitudes and concrete historical events that are reflected in the work of concrete composers in order to understand the figurative and emotional semantic field of Chinese music of the 20th century. As a result of research of many scientific works, one can draw a conclusion about the importance in the performing process of “the formation of artistic-figurative thinking as the basis for the interpretation of a musical work” (I. Khotentsev). Based on the structural and functional model developed by I. Khotentseva, it is possible to build an algorithm for the formation of figurative and artistic representations of performers of any national culture. To do this, it is necessary to study the specifics of this culture, its aesthetic and ideological attitudes, as well as the creativity of the composer in the context of genre stylistics of the performed works. Chinese chamber-vocal music names are the oldest historical roots. It reflects the mental attitude associated with the attitude of man to reality. Thus, the basis of the national philosophical and aesthetic thinking reflecting the national sound pattern consists of the characteristic intonations and timbres of the Chinese instrumentation, the forms of ceremonial and theatrical traditions, the specific national picture of the world, worldview judgments, the attitude of man to nature, etc. In the chamber-vocal sphere of performance, these components acquire a special significance in consequence of the specific nature of the figurative structure of this musical genre. Musical artistic representations of the performer of Chinese chamber-vocal music should be based on a special perception of the world outlook. That is why an important prerequisite for the interpretation of Chinese chamber-vocal works is understanding in all the intricacies of the peculiarities and peculiarities of traditional Chinese aesthetics. However, the events of the twentieth century, which entailed significant changes in the life of the Chinese, left an imprint on the creativity of the composers. On the one hand, the “invasion” of Western standards of life had an impact on all spheres of activity in China, including music art, on the other – in the field of all kinds of art, the national became modern, but did not lose its mental identity. The overthrow of the imperial rule, the civil and liberation Japanese-Chinese wars, the rapid development of world traditions in all spheres of life, the cultural revolution and the further development of the country along the path of globalization and the conquest of leading positions on the world arena – all this was reflected in the chamber-vocal music of Chinese composers . At this time, new genres for the national culture, such as a lyric, liberation and military song, a march, a ballad, a romance or an art song, “songs from the quoteer”, a mass song and a song for the cinema are being formed. Conclusions. The musical language of vocal works is based on the synthesis of Chinese and Western musical traditions, forming some contradictions and creating the ground for further experiments. In performing chamber-vocal creativity at this time there is a sharp polemic about the selection of “their” and “foreign” means of expressiveness. Thus, national receptions are based on the use of throat singing, aesthetic ideals and the image-singing manners of various nationalities inhabiting China. All this shows that the artistic and imaginative representations in the chamber-vocal art of the Chinese composers of the twentieth century acquire new specific forms, and the musical utterance in the process of execution must correspond to the modern norms of integrated national and modern connections.