FOLK SONG PERFORMANCE IN TERMINOLOGY OF DOMESTIC ETHNOMUSICOLOGY

Folk Song it is an essential component of modern cultural space of Ukraine. Saving old traditions, it demonstrates ability to get closer to academic and pop cultures in a variety of solo and ensemble interpretations. This necessitates understanding and relevance of concepts such as professionalism, traditional musical professionalism, style, of technique. The relevance of this article due to fact that for modern Ukrainian Ethnomusicology analysis of panorama of these concepts marked by nuances of understanding of individual research is not a priority. The purpose of this article – Analysis panorama of concepts related to nature and specificity of performance. At beginning of XX century founder of study of national songs and K. Kvitka had appealed to concepts of method of technique and rural of singing. Outstanding scientist by these concepts had characterized larynx structure, a register usage, sound character and his attacks, and also configuring voice resonator specific for of national song. In today's edition of works of scientist editors have used kind of song (interpreted regionally) and folk singing style features that characterize chest resonance with forced sound delivery. Need for their research modern scientists associate with needs in mastering different manners of to improve amateur and professional groups activity. Modern culture demonstrates multiplicity of ways of transmission of songs, loss of significance of oral transmission mechanisms of heritage which are inherent authentic culture and professionalization of national performance. This leads to substantial change in emphasis in understanding its status. In 1970s L. Christiansen process of mastering a singer of songs is associated with life and long traditions. In 1980s E. Alekseev in activities of choirs, ensembles of and dance sees only external signs of activities separates different functioning of folklore, including activities of folk-professional musicians. The need for professional training of a singer, a division of theoretical and practical aspects of this process has reflected on conceptual level in modern ethnomusicology in accentuation of professional start in of songs. So, I. Matsiyevsky uses term traditional professional which on basis of historical perspective and systematic approach characterizes a specific system. Its existence is ensured by both preservation of ideality of sound (conservative-protective mechanism), and his improvisational update. Center of system is a carrier of traditions, which is released from culture medium by talent, knowledge of repertoire, audience tastes and suggestive abilities. On this basis, scientist claims thesis of psychological distinction of performer and audience. Earlier Soviet Folklore accentuated sameness of creative activities and experiences in folklore. S. Gritsa appeals to concept of people's professionalism and emphasizes need of professional reconstruction of folklore. With 1970-1980ies native and in generally Soviet folklore idea has been noted by pluralism in determining specificity of aspect in songs performance. In most cases, individual research interprets concepts used as synonyms: style and style (O. Pravdyuk ), folk singing style, of (N. Drozhzhina ), execution style, closed and open of singing, of ( E. Efremov and V. Ponomarenko ), style (N. Boyarskaya and L. Gapon), folk sound formation (I. Yanik ), manner and performance style (S. Gritsa ), vocal art form, of art, vocal technique, singing technique, solo singing style and the type of sound(V. Antonyuk ). E. Skoptsova appeals to concept of folk performing manner and characterizes by it complex, which consists of: Ethno regional and traditions, Harmony intonation features of Ukrainian folklore, language dialects, and specificity of sound production and timbre usage of voices. By concept folk performing style researcher covers improvisation of performance, connection with local variations of collective performance, features of sound production and tone, unity of singing text and movement. A. Lashchenko uses as identical, concepts of vocal technique and vocal manner, describing by them a way and character of sound production as well as and phonation. The notion of traditional Performance in works of L. Boyar and L. Gapon also used to characterize complex techniques that have been established in certain regions. Their bases are cultural and artistic traditions that are transmitted orally from generation to generation. The concept of style used by A. Ivanickiy also characterizes regional features of repertoire of collective and individual singing activity (subjects, rhythm-melody, forms of performance, sound formation, sounds, use of registers, genre circle), inherent in a particular social environment. Concretization of substantive content of concepts that characterize essence, status and specificity of of considering features of it modern functioning, represents itself future prospects of research.