UDC 37
DOI: 10.36871/hon.202402019
Authors
Svetlana R. Kovaleva (Abzalova),
Moscow State Tchaikovsky Conservatory, Moscow, 125009, Russian Federation
Abstract
Along with many technical tasks, the student and his or her teacher usually face the problem of understanding and adequately reflecting the content of a musical work, which requires a special emotional approach. Emotional lability and self-regulation are extremely important for the performer also because of the need for free and natural behavior on stage. In the matter of emotionality, any performer and especially a vocalist needs to find a balance, since both insufficient and excessive expression of emotions are unacceptable in professional art. Exploring the underlying causes of this phenomenon, the author of the article gives practical recommendations for overcoming both inexpressive and deliberately emotional performance. One of the author’s key ideas is to understand the need to develop a singer-vocalist as a multifaceted personality, interested in studying not only different types of art, but also various spheres of life. Some of the author’s important tips include practicing acting, setting several “super-tasks” while working on a piece, watching, and participating in master classes of outstanding teachers and artists, comparing different vocal interpretations, analysing one’s own recordings, etc. Most of the success depends on how the teacher builds contact with the student, and how much the mentor can support and inspire his or her mentee. The materials in the article can be useful to both vocal teachers and students at music colleges and universities.
Keywords
vocal pedagogy, emotionality, musical content, academic vocals, interpretation, acting
