WORKING ON A VOICE IN THE BANDURA CLASS: METHODICAL GUIDELINES FOR THE TEACHER

Abstract

The article deals with methodical guidelines for teachers who prepare bandura students in bandura class with a focus on the development of vocal skills. Bandur art is regarded as a syncretic phenomenon of Ukrainian culture, where singing and playing on the instrument constitute an inseparable unity, which forms a special artistic space of performance. It is noted that the vocal component is decisive for the expressiveness and content of the bandura sound, since the ideological and emotional content of the work is realized through intonation, diction and timbre. The author emphasizes that the methodology of working with the voice of bandura players should combine the natural principles of folk singing (simplicity of sound formation, intonational proximity to speech, recitation, sincerity of submission) with academic principles of vocal school (respiratory and supporting technique, work of resonators, development of a range.The article distinguishes the main tasks of the teacher: the step-by-step formation of vocal-breathing support, improvement of flexibility and stability of sound, education of expressive diction, work on dynamic shades and agricultural freedom, as well as the integration of vocal and performing skills in a single process of co-embodies. Particular attention is paid to the problem of coordination of singing and play, which requires students of simultaneous concentration, distribution of physical and mental resources, and from the teacher – individualization of approaches depending on the vocal and physiological capabilities of the student.The practical importance of the article is to develop a system of methodological recommendations that can be used in art institutions of different levels – from elementary school to higher education – contributing to the formation of a harmonious combination of vocal and instrumental skills, the disclosure of students' creative potential and their professional performance.