ASPECTS OF ETHNOCULTURAL DIALOGUE OF VOCALISTS

Abstract

The article examines the concept of ethnocultural dialogue of vocalists, which is relevant both in understanding the post-professional phenomena of revitalizing their repertoire in the original languages, and in interpersonal professional communication with foreign colleagues and students. The national vocal culture of professional forms specializes in the psychological mechanism of integration (lat. inter + activus – active) charged in the framework of situational fields: communicator of social interaction anti. It is our task to study the phenomena of artistic mental energy, the language of gestures and non-verbal expressions in the form of vocal creativity (performing and pedagogical), including on the conceptual provisions of the theory of ethnocultural language-vocal modality and the phoneticlinguistic method of teaching the whole child. Our goal is to create models of linguistic and non-linguistic communication of faculties and to prove the full significance of linguistic and non-linguistic creative activity of students of this ethnic group occult dialogue, on the basis of the personal 25-year experience of training students from the KNP at the P.I. Chaikov National Technical University. Ethnocultural dialogue in the field of vocatives requires its students to have knowledge of other people's musical and linguisticcultural traditions, known to this day mainly from summer prisons and still young eighth grade Even today, intercultural communication cannot be one-sided (in this case – focused only on the study by Chinese students of traditional European and Ukrainian musical culture and). This is the true meaning of this cult dialogue, united by the title of the national teacher's vocal school. The perspective of such a dialogue in vocal art is a synthesis of late national artistic cults in a new way, which has long-standing Ukrainian-Chinese relations of the Center for the Development of Culture and Education. The utopia of Chinese vocal performance in the Ukrainian musical culture has not yet been presented, so every attempt to describe the presence of Chinese singers in the musical context of the UK painy has great practical and scientific value. The rapid globalization of the world cult of creative processes forces us to preserve the universal and specific (professional) haptic techniques of the representatives of late times in the writing of the most famous the problem of intercultural dialogue. For teachers who teach foreign students, it is necessary to know in advance exactly those professional situations in which there is a high probability of intercultural misunderstanding, as well as the difficulty of defining and precisely defining those deep ethnocultural values that make up the basic understanding of a foreign language and culture, and not just one formal label.