INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE

The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as analytical method in performanceanalysis of pieces of music (intonation and structural analysis), andrevealing the value of the baroque repertoire in the process of becoming amodern vocalist. Applied methods reveal the practical performing aspectof the study. The scientific novelty of the article is to identify andsummarize the main factors and techniques of training that becomenecessary for modern performers of baroque vocal music, influencing theformation of a vocalist and the further performance of another vocalrepertoire. This question is considered from the singer-performer’s point ofview the application of the rules and traditions of baroque performance inmodern conditions. Both the works of composers and the methodologicalliterature of the Baroque era, as well as the experience of contemporaryrecognized singers, the personal experience of the author as a singerperformerof baroque music, and pieces of music, are in the field of view.In the conclusions it is noted that the broad analysis of pieces of music,involved in performing practice, makes it possible to reveal the existenceof important requirements for vocalists in the Baroque art, from whichboth the musical aesthetics of the Baroque and the tradition of baroqueperformance gradually grew.