Imagery of V. Zolotukhin’s songs in vocal and stage embodiment

Abstract

The article is devoted to the study of the problem of forming the imaginative thinking of an academic vocalist in the context of the chamber-vocal genre. The topicality of the topic is due to the growing role of interpretive factors in modern vocal pedagogy, where performance skill is considered not only as a result of technical training, but as a holistic artistic and psychological process. Special attention is focused on the chamber and vocal works of Volodymyr Zolotukhin, which represent a complex system of interaction of musical drama, poetic words and performing individuality. The article analyzes the figurative and dramaturgical models of the composer’s vocal-piano songs, outlines their genre-stylistic specificity, and defines the role of the piano part as an active carrier of artistic content. It has been proven that Zolotukhin’s chamber and vocal works gravitate towards a poetic-symphonic romance, in which the piano is an equal participant in the dramaturgical process, forming the imaginative space of the work and directing the development of vocal intonation. On the example of the songs «Wings», «My Earth – My Star», «North Pole», «Seven-String Guitar», «And you are gone» and «Waltz», various types of imagery are revealed – from hymnic-generalized and ballad-dramatic to intimate-lyrical and reflective.It is substantiated that working with this repertoire contributes to the development of associative thinking, a deep understanding of the poetic text and the formation of a complete performance concept. A conclusion was made about the expediency of using Volodymyr Zolotukhin’s chamber vocal songs in concert, pedagogical and research practice as an effective means of forming the imaginative thinking of an academic vocalist