Theoretical basis of academic vocal and choral performance and their pedagogical application in working with Chinese students

the article presents an analysis of the theoretical aspects of the formation of the academic paradigm of vocal and choral performance. An important role is assigned to the historical retrospective, on the basis of which the author analyzes the ways of formation of academic vocals in the European and Russian traditions, their similarities and differences. The reader is provided with a comparative, artistic, and aesthetic analysis of those genres of vocal creativity, surrounded by which academic vocals are considered as a separate direction of musical art, which has its own pronounced specificity. Equally important are the axiological aspects of academic singing, which can have a motivational effect on the artistic worldview of a trained musician. The purpose of this study is aimed at identifying the pedagogical potential of academic vocal music, presented both as a solo performance and as a choral ensemble. The author refers to these two areas of educational activity, which are implemented in working with students of music universities in China. The main conclusion is aimed at stating the important conceptual position according to which the ability to work in two paradigms expands the creative potential of a Chinese student and strengthens his professional position in the field of musical and performing arts.

academic vocals, solo and choral performance, liturgical music, folk song, pop and jazz vocal, artistic and aesthetic values