Functional Features of the Chanting in Vocal Classes

This article is written in Russian. You can read it here.

References

Abt, F. Prakticheskaya shkola peniya. Izdanie dlya kontral’to ili metstso-soprano [Practical Singing School. Edition for Contralto or Mezzo-soprano], Moscow―Petrograd : Gos. izd., Muzsektor, 1923. (In Russ.)
Vakkai, N. Prakticheskiy metod ital’yanskogo peniya. Dlya srednego golosa v soprovozhdenii fortepiano [The Practical Method of Italian Singing. For Medium Voice with Piano Accompaniment], ed. by E. Stempnevskaya, Moscow : Muzyka, 1969. (In Russ.)
Varlamov, A. E. Polnaya shkola peniya [Complete School of Singing], Moscow : Muzgiz, 1953. (In Russ.)
Garsia, M (Jr.). Shkola peniya [School of Singing], Moscow : Muzgiz, 1956. (In Russ.)
Grechaninov, A. T. Shkola peniya. Op. 8 [School of Singing. Op. 8], Moscow : Gos. muz. izd., 1937. (In Russ.)
Dmitriev, L. B. Osnovy vocal’noy metodiki [Fundamentals of Vocal Method], Moscow : Muzyka, 1968. (In Russ.)
Duprez, G. Iskusstvo peniya [The Art of Singing], transl. from French by N. G. Rayskiy, Moscow : Muzgiz, 1955. (In Russ.)
Kozlov, N. I. “Alertness.” Psikhologos [Psychologist], https://www.psychologos.ru/articles/view/alertnost (accessed 30 June 2022). (In Russ.)
Markezi, M. Shkola peniya: Prakticheskoe rukovodstvo v trekh chastyakh [School of Singing: A Practical Guide in Three Parts], Moscow : Muzyka, 2005. (In Russ.)
Neygauz, H. G. Ob iskusstve fortepiannoy igry. Zapiski pedagoga [The Art of Piano Playing. Notes of the Teacher], 5th ed., Moscow : Muzyka, 1988. (In Russ.)
Panofka, G. Iskusstvo peniya. Teoriya i praktika dlya vsekh golosov [The Art of Singing. Theory and Practice for All Types of Voices], Moscow : Muzyka, 1968. (In Russ.)
Safronova, O. L. Raspevki. Khrestomatiya dlya vokalistov [Chants. Anthology for Vocalists], 4th ed., St. Petersburg : Lan’, Planeta muzyki, 2016. (In Russ.)
Troyanovskaya, A. I. 100 vokal’nykh uprazhneniy [100 Vocal Exercises], Moscow : Muzgiz, 1934. (In Russ.)
Tsaturyan, M. O. “Alertness as an effective psychological tool of a person in modern society.” Universum: psikhologiya i obrazovanie [Universum: Psychology and Education], no. 4 (70), 2020, https://7universum.com/ru/psy/archive/item/9223 (accessed 5 June 2022). (In Russ.)
Kob, M., Bernardoni, N. H., Herzel, H., Howard, D., Tokuda, I., et al. “Analysing and understanding the singing voice: recent progress and open questions.” Current Bioinformaticse, vol. 6, 2011, pp. 362‒374, doi:10.2174/157489311796904709.
LeBorgne, W. “Five tips to keep your voice healthy.” Majoring in Music.com, https://majoringinmusic.com/five-tips-to-keep-your-voice-healthy/ (accessed 2 October 2021).
Marchesi, M. Vocal Method op. 31 in 2 parts, [New York] : G. Schirmer, 1986.

DOI 10.34690/260

Author Victor P. Sradzhev

Affiliation Belgorod State Institute of Arts and Culture, Belgorod, Russia

Email svikp@rambler.ru

ORCID

0000-0002-2549-0478

Abstract

The article is devoted to the most important part of the vocalist’s technical work related to the preparation of the vocal apparatus for singing. In the practice of teaching, it received the name “chanting” which does not have a scientific definition. The empirical approach to assessing its functional capabilities has led to the fact that these exercises-chanting do not appear in the vocal pedagogical literature, and are very poorly studied in theoretical and methodological terms. This gives rise to erroneous ideas about their functions and, as a result, inadequate technical settings in the work of vocalists. Taking into account the functional orientation of the chants, it can be determined that this term refers to a set of technical exercises that bring the vocalist’s performing apparatus into a state of readiness for singing activity. It involves not only “warming up” the muscles, but also the activation of vocal hearing, the appropriate tonic and coordination adjustment of the neuromuscular apparatus, which ensures the implementation of the most complex vocal and performing activities. Scientific understanding of this phenomenon will make it possible to find more effective ways of the technical work of the vocalist, avoid mistakes in preparing the performing apparatus for singing and use the entire arsenal of technical exercises to achieve its comprehensive functional readiness. Ultimately, this will contribute to the improvement of the teaching methods of a professional singer.

For citation

Sradzhev, V. P. “Functional features of the chanting in vocal classes.” Muzykal’naya akademiya [Music Academy], no. 3, 2022, pp. 172–185, doi:10.34690/260. (In Russ.)

Published 29.08.2021

Approved 21.07.2022

Submitted 26.09.2022

Buy pdf version

Functional Features of the Chanting in Vocal Classes

Functional Features of the Chanting in Vocal Classes

References

More by this author

Articulation: Techniques or a Way to Performing Art?