VOKALISE AND ITS IMPORTANCE FOR THE DEVELOPMENT OF VOCAL MASTERY

The aim of the article is analyzes the specificity of vocalization in the context of the singer's professional activity. It is possible to distinguish several types of vocalises that differ in functional purpose, place of performance and aesthetic-expressive features: vocalise as a vocal exercise and vocalise as a work for a voice without words. It is emphasized that the formation of concert vocalise is the result of the evolution of vocalization as a complex of exercises. Vocalization without words puts before the singer a series of tasks aimed at creating an appropriate interpretation of the work and emphasizing the importance of timbre coloration, which should be likened to instruments. The actualization of the principle of vocalization is highlighted, which consists in rethinking instrumental works through their vocal performance, represented in modern musical culture