MECHANISMS OF PRACTICAL ASSESSMENT OF OBJECTIVE REGULATIONS OF VOICE PRODUCTION IN THE PROCESS OF VOCAL PERFORMANCE TRAINING OF FUTURE TEACHERS OF THE ART OF MUSIC

Abstract

Since, under the influence of the information environment, today's youth show an active interest in singing as a form of musical performance, the vocal and performing training of the future music teacher acquires particular importance. Today, when beginning singers seek to test themselves in the pop, academic, folk, and even jazz singing genres, it is not enough for a vocal teacher to master a particular vocal style to work productively with them. It is also necessary for him to learn the objective regularities of the functioning of the singing voice, which will allow finding appropriate means of implementation for the variety of vocal sounds in pedagogical work today. According to the author of the proposed publication, the possibility of learning these regularities will depend on the presence of a complex of controlled sensations acquired by practicing, thanks to which different types of vocal sound will be able to associate with a determinate mechanism of sound production. It will become possible if, during classroom and independent work, the student can dive іn the process of active observation of the complex interaction of auditory, resonator, and proprioceptive (muscular) sensations that complement singing. As a result, having gone through the trials of overcoming his own mistakes, the vocalist will find confirmation of the correctness of the actions of the vocal apparatus through the signals sent to him by his own body. He will learn not only to analyze the quality of the voice sound but also to imagine the mechanism of its work during voice formation. In the future, when a young specialist starts teaching, he will be able to choose the efficient performing tools for reproducing different types of voice sounds. In addition, he will be able to develop such sensitivity in himself, which will open the possibility of noticing the student's mistakes, guessing their reasons, and passing through and refracting the latter's vocal sound through his sensation.