Ensembly singing in the work of ukrainian vocal and instrumental ensembles of the 1960s and 1970s

Abstract

The article examines the peculiarities of the texture of the vocal ensemble component in song compositions released by Ukrainian vocal and instrumental ensembles during the 1960^s and 1970^s. The study is based on the work of Ukrainian scholars on the problems of periodization of the history of Ukrainian pop music, its stylistic guidelines, genesis and theoretical foundations of the pop vocal ensemble. The 1960^s and 1970^s are defined in relation to the previous period as a stage in the formation of a new variety song repertoire through the involvement of Western European genres and their adaptation on the basis of Ukrainian folklore. The theoretical basis is the concept of musical texture and its varieties, as well as the terms used in the practice of foreign backing vocalists regarding the types of ensemble singing. The study has shown various approaches to the use of the vocal component in the works of Ukrainian vocal groups of the 1960s and 1970s. The considered song compositions of the groups “Veseli Skrypky”, “Mriya”, “Smerichka”, “Arnyka” are characterized by a differentiated approach to the possibilities of the vocal ensemble texture. The author notes the widespread use of techniques that have their counterparts in the American and Western European music of the time – tudor taken from the Doo-Wop genre, comment and call & response. The analyzed examples of the use of ensemble singing indicate the presence of both elements borrowed from Western music and those based on Ukrainian folk songs. In the case of some songs, it can be stated that the backing vocal choruses on the nonsense syllables have both signs of borrowing from Doo-Wop and a specific origin in Western Ukrainian folklore. There are also techniques developed in professional choral literature. In particular, it is the differentiation of textural layers of the ensemble, a flexible combination of contrasting and imitative polyphony with chordal verticals, the use of tertiary secondary and free movement of voices in two-voice duo singing. The choice of vocal and instrumental ensembles of techniques for arranging ensemble singing depends on the overall genre and style of the song.