The art of vocal improvisation as a cultural and style phenomenon

Abstract

The article examines the essence of the concept of improvisation as the art of instant creating a musical phenomenon. It is emphasized that the basis for mastering the ability to improvise is a developed musical intuition based on the accumulated experience of operating with auditory images, the ability to creatively perceive and confidently master the performance and technical skills, on the basis of which musical images are embodied directly at the time of their birth. It is noted that an important role is also played by the formation of certain personal properties of the musician, which include, in particular, the psychological need and inner activity of the individual in his or her pursuit of creative music-making, confidence in their abilities, the ability to perceive insufficiently successful attempts as a positive impetus for further self-improvement. Two types of musical improvisation are distinguished: regulated, based on a given intonation element, and “free”, based on the presentation of a certain artistic image, mood inspired by a poetic text or artistic associations. The latter type of improvisation takes place without a special definition or limitation of the means used by the improviser in the process of musicmaking. The importance of introducing improvisational forms of music-making into the vocal and educational process is emphasised, mastering which is part of the preparation of future singers to perform repertoire whose style involves the ability to improvise. The role of improvisational skills in creating relevant intonation exercises aimed at developing the skills a singer lacks to master a particular vocal piece is also noted. The main features of the formation of improvisation practice in the historical and stylistic aspect within the European vocal culture, as well as the specifics of its manifestation in various genres and styles of vocal art are presented. This includes, in particular, folk songwriting; choral singing in ancient liturgical forms; solo vocal performance by minstrels, trouvères and minstrels. Particular attention is paid to the formation of singers’ improvisation skills in the Italian vocal school of the sixteenth and seventeenth centuries, due to the practice of performing solo works and opera arias da capo in accordance with the requirements of the “bel canto” performance style. The relevance of mastering the art of stylistically correct, improvisational and figurative performance of chamber and opera works of past eras, as well as mastering the skills of vocal improvisation in order to promote the singer’s comprehensive musical and creative development is emphasised.