Вокальна імпровізація як особливість виконавського процесу у мюзиклах
Vocal improvement in music as performing process interpretation

Summary/Abstract: The purpose of the article is to investigate the theoretical issues of interaction between performing and improvisation using the example of vocal improvisation in musicals. Methodology. The complex approach is based on the research methodology. The work is based on empirical and musical-theoretical methods, which attract the performing, directing and pedagogical experience of the authors. A wide range of information is drawn from various fields of art criticism, musicology, vocal pedagogy, history and theory of theater. Scientific novelty of the work. The authors of the article revealed several varieties of vocal improvisation in the musical, which are related to the specifics of the use of melismatic and special methods of sound engineering in vocals, interpreted as means of timbre play. From the standpoint of vocal improvisation, popular fragments of the musical and scenic works of the classic of the world musical (E.- W. Weber) are considered. Conclusions. The phenomenon of improvisation relates to different styles and epochs, it can also direct musical (vocal, instrumental, vocal-instrumental), theatrical-actor, choreographic performing processes. Director's improvisation can dramatically speed up the performance. Improvisation in the last century becomes the basic basis of the performing process of popular genres. Today the musical is a modern musical and scenic genre of mass culture, in which a wide range of means of expressiveness of musical and dramatic theater and variety is harmoniously combined. The musical as a mass-entertainment genre seeks a constant search for new techniques of drama, which is inherent in the mobility of its structure. Within the musical, the phenomenon of performing improvisation as a phenomenon of timbre vocal play is especially harmonious.

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