"The problem of traditions and innovations in vocal and choral performance is a large-scale, many-sided integral system. This phenomenon of musical culture combines the classical direction and modernization of interpretation processes, which determines the topicality of the research. The aim of the article was to reveal the phenomenon of traditions and innovations in vocal and choral art as a complex multi-vector phenomenon that includes components of different scales, content, and functions that they perform. Methods. The research involved theoretical and practical methods. Problem: theoretical methods are represented by the analysis and arrangement of materials; identification of the main elements of the problem; generalization of the data obtained during the research. The practical methods are based on the search for and collection of scientific concepts and empirical data from the fields of performance, history, pedagogy, philosophy, aesthetics, medicine; on the monitoring of educational, as well as concert and performing activities; creative collaboration with soloists and the choral group. Results. The problem of traditions and innovations in vocal and choral performance is based on the following blocks: preservation of classical principles of academic vocal performance; their synthesis with discoveries and achievements of other spheres; modernization promoted by the expansion and updating of the genre framework, as well as modern engineering equipment. Conclusions. The fact of significance of the phenomenon of traditions and innovations in vocal and choral performance for the culture of society was revealed during the research. Its universality as a many-sided, flexible, large-scale integral phenomenon which consists of many different elements that play a leading role in its formation and are closely related was proved. Its interaction with different areas of society is shown. Prospects. The issue of traditions and innovations in vocal and choral performance is constantly enriched with new content, expands the scope of its implementation and interaction with various forms of social consciousness, science, medicine, which necessitates further study of this phenomenon. Keywords: academic vocal performance; performance software support; practice of vocal and choral art; educational and performance activities; breathing exercises; artistic directing; monitoring of educational and concert practice. "

This article is an attempt to study the leading trends of Italian vocal and choral art of the twentieth century. The main stylistic features of the musical art of the twentieth century were convincingly manifested in Italian choral music and embodied in two important tendencies in its evolution. The first tendency was focused on a conscious rethinking of traditions, the second one -on a radical technological renewal of stylistic features of musical creativity. The stimulus for updating the content, genre, and stylistic components of vocal and choral music was the "dialogue" between epochs and artistic traditions. The main results of that process were as follows: a combination of spiritual biblical themes and a modern musical language as well as stylistic innovations; the revival of the mystery genre based on texts and plots of the Holy Scriptures; the reproduction of sublime drama per musica style; the revival of the traditions of the late Renaissance madrigal and combining these traditions with new means of expression and modern techniques of composition. One of the 'iconic', most significant representatives of Italian musical culture of the twentieth century was Goffredo Petrassi, a composer, teacher, and conductor. G. Petrassi's choral music had an enormous effect on the development of vocal and choral music in Italy in the second half of the twentieth century. The appeal to the national heritage in Petrassi's work was associated with the revival of vocal and choral genres and manifested itself in the use of stylistic features of the late Renaissance madrigal, characteristic techniques of ancient vocal music. On the other hand, studying works of Renaissance polyphonic schools combined with a deep interest in modern experiments in the field of musical composition, allowed the composer to create an amazing phenomenon of new Italian choral music, which in composition is close to both avant-garde and neoclassical works of the first half of the twentieth century.

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У статті розглядаються особливості функціонування фактури та тембру в драматургії найбільш показових для авторського стилю симфонічних творів 1960-1980-х рр. українського композитора В. Губаренка. Проникнення ознак театральності в симфонічну музику є маркером оркестрового стилю митця у межах тенденцій розвитку українського музичного мистецтва другої половини ХХ ст. Засоби фактури і тембру відіграють у цьому важливу роль, зумовлюючи драматургічні особливості розглянутих в статті творів.

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