PHONETICS AND STYLE: PERFORMING CHALLENGES IN THE INTERPRETATION OF СHINESE SONGS BY UKRAINIAN SINGERS

Abstract

The article examines the specifics of the interpretation of Chinese chamber vocal works in the performing practice of Ukrainian singers of academic profile. The focus is on phonetic, intonational and stylistic barriers that arise in the process of working with vocal works written in Chinese. Given the tone nature of the Chinese phonetic system, it emphasizes its direct influence on vocal intonation, phrase, diction and formation of semantic expressiveness. The articulation originality of phonemes, the presence of four basic and neutral tones, the change in the meaning of the word depending on the intonational profile-all this creates a specific linguistic and musical environment, which requires a fundamentally new auditory and technical organization of the vocal process from the European performer.Separate emphasis is on the analysis of the intonational nature of the Chinese musical language as a phenomenon that integrates linguistic, semantic and musical components into a single intonation-semantic field. The article also highlights the aesthetic features of the Eastern vocal tradition, in particular the attraction to static forms of musical dramaturgy, meditative, rhythmic fixedness, ornamental thinking, as well as the use of flexible legatoes, microtone vibrations, glisono, natural dynamics and specific timing.This context emphasizes the need to revise the traditional European principles of sound, phrasing, articulatory organization and stylistic logic of interpretation.Within the framework of pedagogical discourse, strategies of step -by -step adaptation of Ukrainian vocalists to the Chinese vocal repertoire are outlined, in particular: integration of phonetic training into the structure of vocal learning, the method of interval comparison of Chinese tones with music intervals, active use of authentic audio, and co -existences. The conclusions about the need for an interdisciplinary approach to the preparation of singers in the process of mastering the Chinese chamber vocal repertoire in the conditions of European academic tradition are summarized.