Досвід опанування європейського вокального репертуару китайськими здобувачами на підґрунті української вокальної школи

Abstract

The article provides a theoretical analysis of the experience of mastering the European vocal repertoire by Chinese students on the basis of the Ukrainian vocal school. The relevance of the study is determined by the internationalisation of arts education, the intensification of academic mobility, and the need for scholarly understanding of the difficulties that Chinese students encounter in the process of acquiring European vocal and performance traditions while studying at pedagogical universities in Ukraine. The aim of the article is to identify the main factors that complicate Chinese students’ mastery of the European vocal repertoire and to substantiate the scientific approaches and principal methods for overcoming these difficulties. The article analyses the essence of the phenomenon of the “vocal school” as an integral pedagogical and performance system that combines the technical, artistic-stylistic, and methodological foundations of forming a singer’s performance mastery; it also outlines the specific features of the Ukrainian vocal school and its formative and educational potential in work with Chinese students. The methodological framework of the study is based on cultural, comparative, anthropological, technological-systemic, innovative-creative approaches, the combination of which makes it possible to consider the problem as a multidimensional intercultural, artistic, psychophysiological, performance-technological, and pedagogical phenomenon. The main difficulties experienced by Chinese students in mastering the European vocal repertoire are characterised as those related to differences in artistic mentality and musical thinking; intonational and auditory experience; phonetic and orthoepic skills; types of voice production and stylistic and interpretive concepts, ways of emotional, and creative self-expression. It is proved that the effectiveness of mastering the European repertoire is ensured through facilitating the sociocultural adaptation of international students, student-centred organisation of the educational process, the systematic development of basic vocal and phonatory skills, performance-related orthoepic culture, auditory self-control, reflective thinking, and the ability for independent interpretive and creative music-making. The principal forms and methods of overcoming the difficulties typically faced by singers from the People’s Republic of China in the process of working on the European repertoire are characterised. It is emphasised that the Ukrainian vocal school functions as an effective pedagogical system capable of ensuring not only the technical improvement of Chinese singers, but also their profound artistic and interpretive adaptation to European vocal art.