TRADITIONAL SINGING IN CONTEMPORARY UKRAINIAN VOCAL-STAGE CULTURE: INTERPRETIVE STRATEGIES AND TRANSFORMATIONAL PRACTICES

Abstract

The aim of the article is to examine the functioning of traditional singing in the modern vocal-stage culture of Ukraine, in particular, to analyze interpretive strategies and transformational practices using the example of the work of individual performers (Yu. Yosyfovych, A. Matvienko, K. Chili and Y. Yurina). The results of the study show that the interpretive strategies of modern performers have different artistic orientations – from preserving the natural timbre and original manner of sound production to creating post-folkloric and experimental models. In the work of Y. Yosyfovych, there is a tendency to chamber stage reconstruction of traditional singing; in the performance of A. Matvienko – a delicate combination of tribal authenticity with semi-academic vocal technique; in K. Chili – a deeply spiritual and metaphorical interpretation of folk melodies through the prism of world music; in Y. Yurina – a combination of traditional melodies with electronic rhythms and urban soundscapes. The scientific novelty lies in the attempt to systematically comprehend traditional singing as a multidimensional phenomenon of modern vocal culture, which functions at the intersection of ethnic, academic and pop discourses. For the first time, artistic and performing models of modern interpretations of folk singing are generalized, representing a new type of vocal identity in the Ukrainian cultural space. Conclusions: it is emphasized that modern transformational practices do not deny authenticity, but expand its semantic boundaries, integrating folk song tradition into the context of global stage culture. Traditional singing acquires the function of a communicative bridge between the past and the present, forming the basis for the development of the national vocal brand of Ukraine.