В данной статье хоровое пение рассматривается с точки зрения принципа синергии. Обсуждается понятие музыкальной синергии, определяются уровни системного взаимодействия участников хорового музицирования (физический, психологический и концептуальный), функции координации и субординации певческих действий, эстетическое и воспитательное значение хорового пения.
У даній статті хоровий спів розглядається з точки зору принципу синергії. Обговорюється поняття музичної синергії, визначаються рівні системної взаємодії учасників хорового музикування (фізичний, психологічний і концептуальний), функції координації і субординації співочих дій, естетичне і виховне значення хорового співу.
In this article, choral singing is considered from the point of view of the principle of synergy. The concept of musical synergy is discussed. The levels of system interaction of choir singers are determined. The coordination and subordination functions of vocal action, aesthetic and educational value of choral singing are considered from the point of view of synergy. Synergy is included in the very nature of the choral art. The principle of synergy is apparent at the level of biophysical action and interaction of all participants of choir. The main actants of the synergetic actions at this level are gestures, facial expressions, breathing, articulation and vocalization and other biophysical "mechanisms" and processes. The result of this kind of synergy is a consistent, harmonious, aesthetically pleasing sound. The synergy is obviously found as a psychological condition, common emotional-volitional tone, common tempo and rhythm etc. The actants here are the psychological "mechanisms" and processes that affect the scope of the will, emotions, sensations, perceptions, motivations etc. The emergence of a unified "psychological aura" performance, the connection of singers and conductor in a single psychic organism is the result of this synergy level. Such audible unity reveals itself as a monolithic integrity intonation process. The synergy of conceptual level is much less obvious for choir singers and listeners. The result of the spiritual, ideological and moral unity of the choir is not directly visible. However, it is possible to judge indirectly. The natural manifestation of this kind of synergy in children and youth choirs are friendship, mutual support and assistance, a penchant for dialogue, common interests and artistic tastes, the same attitude towards moral values. All these essential human and civil features are the highest "product" of choral singing at school. Expressed theoretical propositions give the possibility for the discovery of new methods of aesthetic, artistic, spiritual, moral and ideological education in the process of the choral singing.
