ПОНЯТТЯ ТЕМБРУ-АМПЛУА І ФІЛОСОФІЇ ГОЛОСУ В ДИНАМІЦІ МУЗИКОЗНАВЧИХ ДОСЛІДЖЕНЬ ОСТАННІХ ДЕСЯТИРІЧ
CONCEPT OF TIMBER-ROLE AND PHILOSOPHY OF VOICE IN THE DYNAMICS OF MUSICIAN RESEARCH IN THE LAST DECADES

Summary/Abstract: The purpose of this work is to generalise the characteristics of the concepts of "voice philosophy" and "timbre-role" accepted in modern musicology, which indicate the non-artistic meaning of expressiveness of singing, which, together with the artistic and plot indicators, give capacity to its metaphorical essence. The methodological basis is culturalised musicology, as presented in the works of the heirs of B. Asafiev in Ukraine, namely in the works, except for the author of this essay, by D. Androsova, M. Davydov, I. Zinkiv, O. Kozarenko, O. Muravska, O. Roschenko, N. Syrotynska, the works of G. Adler, M. Grappler, R. Ingarden, in which the synthesis of musicological analysis and humanitarian and cultural comparative analysis is embedded in the awareness of the expressive self-importance of performing creativity. The scientific novelty lies in the fact that for the first time in a theoretical and logical exposition, the conceptual contents of the terms "timbre-role", "voice philosophy" are presented, which were introduced by the authors of the studies in the generalisation of musicological observations, summarising the understanding of the vivid performance-pedagogical discoveries of the dissertations completed under the supervision of by the author of this essay, O. Markova, and stated in this conceptual interpretation in the 2015 book, subsequently tested in research by representatives of the specified scientific school. Conclusions. The analysis of the stages of introduction and approbation of the accepted terms "timbre-role", "voice philosophy" shows that logically and chronologically the first of the named - "timbre-role" was the most basic, which proved to be valuable due to the generalisation of the cultural and symbolic beginnings of singing skills, moreover, in volumes of both European, genetically ecclesiastical, vocals, and singing-singing of the Chinese opera tradition. The observation of historical changes in the interpretation of male and female voices, the "absorption" by both of them of the primary syncretic masculinity of singing sound expression in general provides the foundations of the "philosophy of the voice", "speculative theory of singing" (compared with the concept of "speculative theory of music" in relation to the designation of musical aesthetics in the 19th century), in which the ideal-extraordinary beginning leads to a distinction with the speech intonation layer, which attests to the essential sound life.

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