SOLFEGGI IN THE EDUCATIONAL PRACTICE OF THE NEAPOLITAN CONSERVATORIES OF THE EIGHTEENTH CENTURY AS A FACTOR IN THE FORMATION OF THE STYLE OF BEL CANTO

Abstract

The purpose of the work. The work is devoted to the problem of formation of bel canto vocal technique and new aesthetics of singing, which gave rise to the phenomenon of opera of the XVIII century. The content of collections of vocal exercises – solfeggi – are considered as the basis of a comprehensive practice of improving singing voices while studying in the classes of the Neapolitan conservatories of the XVIII century.
Methodology. An integrated approach to the study of the material is used. Historical and theoretical researches of Gallant style, opera art of the XVIII century, academic activity of music classes of Neapolitan conservatories, teaching of solfeggio, partimento and counterpoint in these influential educational institutions of the epoch are considered. The method of performance analysis is used to study vocal exercises – solfeggi. Scientific originality. It is noted that the time, place and conditions of mastering the technique of "beautiful voice" still remain unclear in the literature. The system of music education in the classes of Neapolitan conservatories in the XVIII century were studied. It is determined that the boys' education was based on the systematic teaching of the disciplines of solfeggio, partimento, counterpoint and instrumental performance. Certain mechanisms of education of the vocal apparatus, embedded in the system of baroque vocal exercises, are analyzed. The educational materials preserved in the archives, documented in the student's notebooks – zibbaldoni, are considered. The role of castrates in the formation of new aesthetics of singing, the development of virtuoso and plastic abilities of singers, strengthening the atmosphere of professional competition were studied. Conclusions. It is revealed that all known sets of exercises are built with a professional understanding of methodological tasks and developed with the aim of gradually acquiring singing qualities, which later became known as characteristic features of the bel canto style. Based on the practical mastery of musical works of Neapolitan teachers-singers and composers – solfeggi, it was found that the practicing canto figurato was aimed directly at mastering vocal abilities of the singing apparatus, hearing development, skills of precise intonation, skillful breathing, vocal ornamentation` skills and simple intonations. It is substantiated that all the processes of "tension" and "weakening" of intonation and harmonic tendencies affect the development of changes in the dynamic and timbre shades of voice.