About features of the vocal speech in the russian chamber music (on the example of M.I. Glinka's romances)

Having considered in article peculiar features of chamber and vocal music in its difference from opera party, we allocate the following: - verbal and musical components of chamber and vocal music considerably increase the importance of the sung-through verbal designs; - unlike opera party chamber and vocal work has no unambiguous timbre tightness; it can be transposed in the chosen tonality and be executed by both female and man's voices of various timbres. The orthoepy of singing possesses the synthetic nature based on unity of verbal and musical beginnings that essentially distinguishes it from orthoepy of speech - both colloquial and art declamatory speech. The synthetic nature of orthoepy of singing is based on auditory synthesis of subject and logical and phonetic components - synthesis, demanded in works of the singer. Synthetic unit of orthoepy of singing has three components: 1) vocal intonation (+ vocal attack), 2) sequence of syllables (combination of phonemes), 3) voice paint. Specifies of types of connection of the called components in each case are individual and aimed at auditory expression of the concrete vocal image. The aspiration of the detection of the most "true" regularities of orthoepy of singing demanded the appeal to chamber and vocal music. Properties of chamber and vocal music show that situation when word and music remain "alone" - without contexts and scenic action. In chamber and vocal music the same purpose demanded the appearance of a small form - the romance (unlike a vocal cycle, for example) and consideration of a small vocal form on the example of two chosen M. I. Glinka's romances. Romances are written in Russian which orthoepy is closer and more understandable to both the Russian singer and the Russian listener.

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