Ree CMe toy ‘Vocalize genre in the Sergey Rachmaninoffs works Vocalizar el género en las obras de Sergey Rachmaninofl KrasovV.V State Music Pedagogical Institute named after MLM. Ippolitoy Ivano - Russa infoeippoltovia ru ABSTRACT ‘The purpose of the sud is wo determine the semantics of vocalize in the S. Rachmaninoffs wosks. An integrated approach, combining general aesthetic, source studying, historical and tlistic and systemic genre ones, allowed considering such acapacious concept a8 vorlise. On the basis of the method of complex analysis the results about the uniqueness of vocalze as an artistic definition are obtained. Vocalize has gone a long historical path of development from the original form (asa technical exercise to develop the voice) to its concert kind of solo vocalise, which appeared in the S. Rachmaninoff work. Not limited co an independent genre, vocalize penetrates into chamber vocal music. Based on the analysis ofthese works, the conclusion is made about the uniqueness and universality ofthe expressive properties of choral vocalse. Special atention is paid to choral vcalize asa ‘means of choral texture. Based on the analysis of che works “Liturgy of St.John Chrysostom”, "Nightlong vigil”, choral scenes of the opera “Francesca da Rimini", cantaa “Spring”, poem “Bells, “Three Russian songs’ the conclusion about the manifestation of instrumentality inthe choral texture is made. In general, the analysis of Rachmaninoffs musical heritage allows affirming voclize inthe tatu ofthe artistic universe Keywords: S, Rachmaninoff, vocal, semantics, gente sty, drama, RESUMEN El propésito del estudio es determinar la semntica de la vocalizacién en las obras de S. Rachmaninoff. Un enfoque integrado, que combina la estética general el estudio de fuentes, el género hise6rco yestilisticoy ssémico, permitié considera un concepto tan amplio como la vocalizacién. Sobre la base del método de andliss complejo, se obsienen los resultados sobre la singulridad de la voealizicién como definicién ardstica. Voealiz ha ecorrido un largo camino hist6rico de desarollo desde la forma original (como cjercicio ténico para desurollar la vor) hasta su tipo de concierto de vocalizacién en soitario, que aparecé en el trabajo de S. Rachmaninoff. No se limita a un género independiente, lavocalizacion penetra en la misica vocal de cimara. Basado en el anlisis de esos trabajos, se llega a la conclusia sobre la unicidad y universaldad de las propiedades expresivas de la vocalizacién coral. Se presta especial atencin ala voclizacién coral como un medio de textura coral. Basado en el andlsis de las obras «Litugia de San Juan Criséstomon, «Vigila nocrurna», escenas corales de la épera «Francesca da Rimini, cantaa «Primavera, poema «Campana, «Tres canciones rasa a conclusién sobre Se realiza la manifestacién de instrumentaldad en la textura coral. En general el aniis de la herencia musical de Rachmaninoff permite afrmar la vocalizacin en el estado del univeso artistic Palabras clave: S. Rachmaninoff, vocalizar semantic, género, estilo, drama. Recibido: 03/07/2019 Aceptado: 19/09/2019 RELIGACION, REVISTA D& CIENCIAS SOCIALES Y HUMANIDADES ‘Vold« Ne 20 + Quito + Octubre 2019 pp. 75-80 ISSN 2477-50\ocalan gon inthe Sergey Rackmainats works INTRODUCTION In the history of Russian music a solo vocalize emergence as exercises for development of voice mobility, and choral vocalize as the timbre texture organization and their further evolution in artistic composition, could be traced for several centuries. Soiin the early ewentith century the value of vocalize was leveled. Acconding to Profesor ofthe St, Petersburg Conservatory ‘A. Puzyrevsky, the use ofthe choir, which as an accompaniment tothe solo voice, sings with clenched lips, that is, without uttering words, has no serious artistic significance (Puzyrevsky, 1908). Time has changed lot. Now itis impossible to imagine a complete picture ofthe development of musical genres without the introduction of voealise, both solo and choral, hich allows stating the synthesis of genre feature. Analyzing the degree of scientific development of the theme, as wellas dhe interests of domestic and foreign musicologist, we can conclude chat the appeal tothe question ofthe role of vealize in some S. Rachmaninoffs works rose sporadically, without revealing che whole piture ofthis genre. The problem associated with vocalize was reduced soley ois solo type. In addition, the studies id not reveal a complete picture ofthe development of vocalise. Aspects of the study of musical genres ‘represented in some works became the bass for dhe concept ofthis work. They made it possible to adjust its analytical focus. “The works dealing with different components of vcalze are divided into four groups. In the fist one the object of research is solo vocalize and its application in the process of formation of knowledge, abilities and profesional sills of singers. S. Berzhinskaya, A. Filion, R. ladkopeves, N. Polyakova, E. Sharma, N. Guseva, , Simonova, O.-L. Mond, PV. Lutsker and others are among the authors of such works in Russian musicology. ‘The second group consists of disertation esearch on the development of musical heating, in which the methodological and pedagogical vectos in particular, solfegzo is represented by exercises - solo vocalises of L. Loginova, M. Lyudko, A. Zingarenko, M. Elremova, P. Sladkov, I. Tikhonova. ‘The third group includes works related tothe folkiore practice. Their solo vocalize appears 2s a stylistic element of folle music of uifferent nationalities: for example, Mordovia (E. Melyankina), Bashkortostan (R. Galimullin), Adygea (E. Gogina), ‘Western-Arabic music (T: Sergeeva) the Arab-Andalusian at of singing (A. Belferruni). ‘The fourth group consisted of works, exploring the features of the certain era music, or of the works of one composer: O. Shepsheleva, A. Kurabnov, A. Petrova, N. Filatova, L. Revikovich, A. Shtrom, T. Khromenko, G. Chernaya, I. Romaschulk and others. Here vocalises are examples of certain stylistic and genre fearues of the composer’ iting “The main provisions of the study were developed on the scientific work of T: Livanova, Yu. Keldysh, S. Skreblow, V. Protopopov, E. Delinskaya, Yu. Paisoy, G. Grigoryeva, M. Vysotskaya, A. Sokolov, V. Kholopova, N. Gulyantskaya, which rised the problem of evolution ofa specific genre evens (Keldysh, 1974; Kholopova, 2001). Based on the foregoing, the rence ofthe researchis that vocaliz in the S. Rachmaninoffs works, a genre, che drama, and as texture forming and shaping parameters studi forthe fist ime, thus filling certain gaps in this area of musical science, and that the analysis of genre and stylistic components of the vocalize is directed not only in the field of cerebral but and practical -on the basis of obtained data to define the specifics of performing, The scientific novelty ofthis research lies in the face that for che Fs time inthe history of world musicology voclieis presented asa unique ats definition ~ theoretical and performing, specially studied comprehensively in tems of genre specificity and stylistic features, aswell as peculiarities of interpretation of Rachmaninoffs works Goals and objectives ofthe study: + To determine the artistic value of vocaize inthe music of S. Rachmaninoff onpeneauts; + To determine the semantics of vocalize in the S, Rachmaninof?s works: + To casify vocalize (oo, choral); + To interpret theoretically the genre prototypes of the solo vocalise; + Todetermine the dramatic, excural forming and shaping properties of vocalze in works of diferent genres; + To reveal the specifics of artistic interpretation of voelise. METHODS AND MATERIALS ‘An integrated approach that combines general aesthetic, source studying, historical and stylistic and systemic genre methods ‘of analysis became the main in the work. Consideration of such a expacious concept 2s vocalze (slo and choral), required reliance on research related to chamber vocal, vocal-symphonic, choral and opera music by S. Rachmaninoff, 2s well as ‘on works that analyze the state of modem performing practice and problems of interpretation. At fist glance, ths area of research is almost entirely in the field of vocal and choral performance. Indeed, many aspects of this problem were the starting point for the study of the specifics of vocalze — ic isan inevitable and, at the same time, a necessary condition for achieving new scientific results. Vocalize in the context of musical creativity is inextricably linked with other aspects of the composer’ artistic thinking, Professional skills of musical analysis are assumed for its stud: eis this circumstance ‘that introduces the problems of research in the field of musicology, determining the relevance of the formulation ofthis problem. Thus, the study of vocalize is complete only if chee is the synthesis of research methods and the result oftheKrasov VV. analysis of two related areas of musical art ~ chorology and musicology The materials ofthe study were chamber ‘oral music, choral works and works in the genre of musical chearer by S. Rachmaninoff. cis in the work of this author that the most important properties of voealize were born, which led co the birth of a unique independent genre of choral vocalize a cappella in Russian muse. RESULTS AND DISCUSSION Fora long cime the genre of vocalize existed only inthe sphere of insructive compositions for the development of vocal technique, lke eds in the field of piano music. However, in the beginning at the end of XIX-XX centuries in Russian music the purely educational and methodical component of solo vocalize is replaced by 2 new interpretation - vocalize becomes a conceptual parameter of the composition, Where the word is powedesly silenced, a universal ‘means of artistic expression yoclize comes into force. So in 1910-1915 in the S. RachmaninofTs works "Vocalise” becomes an artistically valuable work that goes fr beyond the exercises forthe voice and itis a romance-swcalte. Iris in “Voealise’,dedicared to N. Nezhdanova, the final number of the eye, the composer puts a hidden program of sacred confession, expressed without words, the confesion of the soul, a kind of transcendent beginning, As I. Stepanova noted, “the word itself reflected in the music indicates the boundaries of semantically meaninglul elements” (Stepanova, 2002), dherefore, to create a generalized conceptual philosophical-aesthetc “musical statement” the composer did not need poetic lines: rising above the initial level of confession, as a subjective, individual stare, “Vocalise” appears as “art space” of an artist, ‘overcoming the space and time of muscal-historical process, and the “art spac” (according to Yu. Lotman) act as"2 model ofthe world ofthe author, expres in che nguage of his spatial epresentaions" (Lotman, 1988). Genre protorypes of the compositional solution of “Vocalise” are extremely diverse. This i, in fct, a synthesis of sylistic features of many eras: vocaies of Taian masters, la mento arias, Baroque music, sign chant, Russian lingesing song “Vocalse” is an aria without text, where che voce is treated as a special paint, and intonation base maintains the connection with the song-aria melodies and instrumental melodies. In *Voealise” second intonation moved fom la mento aria, descending bassline, moving on the scale of natural minor down. ‘With regard tothe sign chant, we should clarify that at presen sign singing s usually understood as one-voice (unison) ‘Church singing, the experience of which can now often be heard both a the divine services of the Rusian Orthodox. Church, and on the concert stage and in audio recordings. Sign chant isthe orginal modal and melodic forms of syncretism (in gregoriania the modal and melodic patterns much more auronomous). The chant is exceptionally smooth, moving in seconds, In this movement, the key intonation of the whole se of sgn chants isthe ascending. stroke within three sounds (less often ~ four), that is, one accord of the everyday scale. Syneretsm consists in the inseparable unity ofthe most common melodic course and the cll of the mood scale ~ one accord”. Thrce ascending sounds overtly or covertly move each melodic ine of the sign chants. The same features are found in the work of SV. Rachmaninoff. Speaking of other origins of “Vocals, we emphasize Russian start, Rusia song melody: In common with the Russian songit has melodic simplicity, drawl, and mood solution ~ natural minot, characteristic of lk songs ‘Rachmaninoff, 2008; Nazar & Hamidizadeh, 2017; Ibragimova, 2017) Baroque traditions, primarily associated with the composers style of J. S, Bach, ae expressed inthe sublime, objective beginning of the figurative system. In piano accompaniment, this consists in a pulsation of polyphonic texture. In this ‘egard, we can recall the second part ofthe "Kalian Concert by J. S. Bach. ‘The extue of “Vocals is diverse, changing depending on the place in the musical form and artistic idea. The texture isrepresented by the main types: melody ofthe vocal par, the bassline, pulsation by the eighth durations of the middle voice. The melody is the most developed and play a key ol in the composition. ‘The bas lin plays a harmonic rol, giving the musica touch of infinity of historical time. It moves in a linearprogresive downward vector. The middle vice isthe “heartbeat” ofthe texture, consisting inthe chythmic and harmonic unity ofthe pulsation ofthe chonds, “The appeal to ancient musical forms is also symptomatic. “Voealise” is solved in the old two-part form of the deployment type. The lst section (coe) brings to the archtectonics ofthe work the features of a three-part reprise form Here is the frst period in ther original form inthe midale voice and in support par. Rachmaninoff "Voclise” isa unique example of individual composition. I contains feruresof many forms, genres and styles, being athe same time unlike anything else, che authors work. There is a similarity with Russian song, the Russian Church sgn chant, an old Baroque tradition and however true features of Rachmaninoffs compositional syle. S. Rachmaninoff uses vocalize as postscripts in vocal chamber music. Let us remember the song “Uh ty, iva moyat fom vers by A. Tolstoy, where in the code, afer the words Tim isbhodile uta pechal-iran, vyrastalo gore gonwchee voralize sounds - crying as a generalized sign of mourning in Russian music with a characteristic initial ascending, Jeap to a perfect quint, achieving the highest cessituras subsequent semitone to the sound of 62, and further long- term downward movement to a - the timbre of human voioes finishes the musical thought outside the text, contained in the piano part. ‘Vocalize manifests itseln the song "Polyubilaya na pechal svoyu’ on versesby A. Peshcheev (ftom T, Shevchenko), dedicated to M. Olferyeva, where afithe words Uh takaya dolya mine rypal the crying vocals, like a moan, repeating the main theme. In these romances the influence of Russian folk music on Rachmaninoff work is traced. In the writings there are no direet quotes, bu intonation parallels, aswell asthe melodic development on the principle of\ocalan gon inthe Sergey Rackmainats works the melodies are sweeping, reveal the genesis ofthe melody of Russian lingering songs not so much with external signs, but with deep relationships. Perhaps iis vocalize that plays a dramatic role not only as an important afterword, but also asa reflection on faz, Through vocalise, the image ofthe future is modeled asa sphere of inner contemplation, something supra-conscious, which, according to K. Malevich, “is. something chat is thinner than thought and lighter and more flexible”, which is “to utter isnot only ale, but even quite impossible ro convey in words (Malevich, 1989) ‘Vocal and vocal-symphonic music in general plays an important role in the work ofS. V. Rachmaninoff. Being a brilliant ‘melodis, he wrote a large number of works for voice with accompaniment and for choir. Vocalize penetrates into the sphere of scred music, and into the sphere of vocal and symphonic music of, Rachmaninoff Since the mid-80s of the XIX cencury a stage characterized by a rethinking of the features ofthe partes and spiritual ‘concerts began, which led to a bright lash of gencralized concert and, asa consequence, the emergences of works where the esence of the genre received a highly artistic embodiment. In this aspect the concert for choir ofS. Rachmaninoff “In prays the unfaling Virgin” isthe most significant. Rachmaninoff melodic lines, with great length, wavy principle ‘of development, a wide breath encompass large number of inner sylable chants that makes ths principle of work with text common with a Russian lingering song (Maze, 1947): for example, the chant ofthe words neprelachnoe ypouanie, ‘ne uderhesta ide fest pat, Mater: prestavi- in the second, prinedewtvennyy - in the thitd. Let us nove and other ‘genetic relationship of melodic development and work with the word — peal, which has the motive-variant repetition, accented by S. Rachmaninoff inner syllable chant, and the lyrical-romantc tendencies of “endless melody". [Not eying to sound every word, S. Rachmaninoff cretes a composition in which the saerament of sacred meaning prevails, and che word only concretizes the thought. As A. Lyakhovich writes, “Rachmaninoffs arti a revelation given in ilence, a mystical comprehension ofthe mystery ofthe symbol <..> “music speaks fr itself, and (w paraphrase an aphorism) “the musical chought extracted in the Declaration isi” (Lyaldhovich, 2013). In this gard, avery illustrative example of self-suficiency of music, semantic context is extremely voluminous, are the chants of the many-part spiritual ‘les ofS. Rachmaninoff “Licurgy of St. John Chrysostom” and “Nightlong vigil. Thus, in the hymn “I sing to You" from the Liturgy in the second stanza (fom the words molimuisya Bozhe nas) there isthe composers remark: “from here to the end the choir can sing with a closed mouth” (Rachmaninoff & Chrysostom, 1988). Tex is given inthe part of the soprano soloist: the choir also act as a vocal “orchestra, on the one hand, harmonically supporting a solo voice, and on the other hand, musical means expressing meaning beyond the unspeakable: the sound of the mixed choir with the mouth closed is multifaceted, semantic context is boundless. This arrangement of choral sound and solo voice also ‘makes Rachmaninoffsspitiual work related to Russian folklore (Rasooli & Abedini, 2017; Mondelo et al, 2017). In the Nightlong vigil (1915) the role of choral sound is many times amplified. The composer writes in the sheet music with a special icon (+) all the fagments performed by the choir with the closed mouth. Symphonic choral texture demanded that the composer hat! Fundamentally new approach co the interpretation ofthe timbres of choir voices. So ‘method of vocal “orchestration” singing with mouth closed is found in “Blessed art thou o Lord” and “Bless the Lord, ‘omy soul”. An interesting technique is che “choral piceup” of che final sound ofthe theme performed by che soloist cor choral party. This pick-up” continuation ofthe vocal line, sometimes lasting several bas, can finish the phrase, and can, as the development of musical thoughe, transform from the aferword in a new textured layer, against which the subsequent melodic line will beset out. This principle of vocalization of the choral excue resembles a kind of endless ‘melody”, but having a Russian soil~a sign chant. “Endless melody” isa term brough« by Richard Wagner. In fact, under the “endless melody" Wagner means “infinity” (continuity) in the entire music web, including harmony - impression of continuous deployment isalso achieved through the usc of interrupted cadences and interrupted harmonic momentum. ‘The Rachmaninoffs “endless melody’, often interpreted as long endings of musical phrases, in particular with the ‘tansfer of the endings from one voice to another, is found in the cycle “Six women’ choirs’, and in vocal-symphonic compositions ‘The word and silence in Rachmaninoffs work are the constant, inexhaustible presence of mystery, of the unreal, of the inexpresible, In Rachmaninoffs vocals, the word dissolving ino silence is immersed in the “absolute” of music “Unspeakable silence”, always present in the visible world, appeats in Rachmaninoffs works asthe original space for sound, in which there isan almost imperceptible edge, the moment when the word impotendy fal silent or when the word pierces the silent wold Vocalises penetrate almost all gentes of musical at. Choral vocalizes begin to play a special role in musical cheate, as iis in chem that attention is focused on the timbre of human voices due tothe exclusion ofthe poetic word, Perhaps, the appearance of choral vocalses in Rachmaninoffs operas was primaily associated with the development of the opera genre, where polyphonic vocals were one of the means to crete an artistic image, often forthe penonification of choral sound So in the opera “Francesca da Rimini” the choir sounds the moans of souls driven by ahelsh whistwind. Choral sound with no words (ext only instructed the chorus in the phrase that closes the whole opera: “There iso greater sorrow in the world a to recall the happy time in misery’) is woven into the orchestral web, asthe tone pane that brings the opera close to orchestral poem, and the cantata. The picures of hell (prologue and epilogue) are dominated by fatalism and hopelessness. niall in the orchestra, and then in the choi, a descending second intonation is heard, developed further ‘throughout the prologue ina spirit close to che medieval Catholic hymn Dies nt. This intonation will appear in other S. Rachmaninoffs works: in the symphonic poem “Island of the dead” (199), in “Rhapsody on a theme of Paganini” for piano and orchestra (1934), in "Symphonic dances’ (1940), (Cantata and oratorio genres also contributed to the formation of vocalize as an independent genre. In che conditions of large form, the timbre originality is not so much important in voclize as its function: « meus of drama ora techniqueKrasov VV. of writing. ‘Asa means of drama choral vocalses can be divided into the following types: 4. choral vocaliae—characer; 2. choral voealize descriptive techniques 3. choral voealze ~ emotional sate. As writing technique choral voalize isan important tool of texture formation: choral vocalize~ che accompaniment or counterpoint, Lets note that this casification is very conditional. In the cantata-oratorio work of many composes, an integrated approach tothe function of choral vocalises is manifested. They can simultaneously act asa means of dram, and as texture forming means. Lec us consider musical examples. Quite often in choral vocalze not only the timbre is important, but also the semantic accent, “words” of an inanimate character were entrusted to the choir. Let us recall, for example, the Famous episode from S, Rachmaninoffs cantata “Spring”, where in dhe words of the soloist Ki, kil! the aires! mixed choit comes in octave unison, singing with the mouth closed low thied intonation (ff), the hidden meaning, of which, a beat lates, a solo will open — Kill The shythmic formula ofthis episode is also interesting. Direct speech ofthe character of “Winter is written out with large durations (halfand whole), and “decoding” this letinconation in the baritone party sounds by eighth and quarters (11 of sheet music). In addition, etintonation of “Wintet” received subsequently sequence downward development as a psychological component — almost going crazy man, inthe heat of pasion overwhelmed with passion and revenge. In this cae, S. Rachmaninoff follows the traditions coming from the work of M. Glink. Afterall, M. Glink forthe fist. time in Russian music to characterize a fantastic character (the Head of the opera “Ruslan and Lyudmila’) chose choral smacto-timbre of male voices In the poem “Balls” (1913) choral vocalises appear in semantic climaxes, Inthe middle episode of the frst movernent inthe cis moll tonality (the tonality of “death”) the sound of the chorus with the closed mouth paints a gloomy, taic- severe image ~ a harbinger of disasters and loses that inevitably accompanies human life. This inevitability lic in the application ofan infinice canon in unison with a four-voice mixed choit. The melodic line itself builtin a narrow range of perfect fourth and represents gradual upward movement with return tothe prima va “bel!” singing of third tone. This ‘most important dramatic episode anticipates the mournful conclusion ofthe cantata, where in the texture of the choir ~ “the bell ols” with a closed mouth, against which the words of soloise Hollow bell bs sound. PoE'ssymbolist poems (cansated by Balmond, fling into certain dramatic conditions of Rachmaninoffs music, aequire new meanings. Thus, the choral vocalize becomes a symbol of Time, acts as a “ving embodiment of temporal processes, philosophical and smythopoctic understanding and reflection of which is one of the main meta musical thematic lines of Rachmaninof’s music” (Lyakhovich, 2013) Choral vcalise, as an image of separation, anguish, appears in Three Russian songs (1926). In the Gest part vocalize appears like a prolonged conclusion of the main themes Acro the river the river quick, ‘The basis of this partis a ‘wedding song from A. Lyadov’s notebook. The final word of the phrase Maina in the party of male voices lst three and a hai bars, singing the vowel 4 allegorically transforming into a “groan” of loneliness. In the second part of Absit Varika the theme of poor female destiny goes beyond the fate of one man, it isa generic picture of lonelines, lost love, heartbreak, suffering. In Russa, che song is widespread, performed in many voices and belongs to the female tradition. Rachmaninoff took asthe bass of his work the performance of F. Chaliapin lingering, sad. In the cole voclize sounds descending d-moll chromatic sale sounds ewice, as written glssando cascading through che end ofthe songs-laments. It isalso importanc that te violas perform his vcalize with ther mouths closed, This principle of performance has great dramatic power, symbolizing the inner cry oF moan, state of mind, gre, which the heroine has no right to pour out, show people. The third song Beli, nunyanityy yy moi! is about a jealous husband who wants to beat his wife. This song S. Rachmaninoff heard in performance of N. Plevitskaya, Heavy dance, as if the dance of death, is writen with the help of elastic rhythmic, “pressure” the free of tectonic conjugations. Chorus lables Ay: A. dal: Ay Sul! Oh A... Ur due to the chant, che length ofthe sound acquire the value of voealize with emotional and dramatic content. In these vocalises ther is fear and horror of the future, memories ofthe past. The climactic performances are choral vcalses performed ‘with a closed mouth, acquiring multiparameter shades of emotional state; mixing of feclings. Thus, the heavy drama of hopelessness, despair, 50 tormented the composer in emigration, after a decade o silence reflected inthis opus. CONCLUSIONS Vocalize has gone a long way of aging and gained genre autonomy to the middle ofthe twentieth century Expanding their emotional capabilities, the vocalize (olo and choral) was closely within the origina scope of “service” vocal technique. Vocalize has become popular in other genres. The inclusion of vocalze as an artistic phenomenon allowed it to gain positions within different genres “The musical heritage ofS. Rachmaninoff ally demonstrates the dramatic and genre-sylistic possibilities of vocals. Thus, the vocalize in the S. Rachmaninoffs works appears not only as independent genre concert solo vocalize (“Vocals”), but also as choral vocalze- artistic universe, able to manifest as a final postscriptsin chamber vocal music (songs “Uzh 'y,niva moooya’, “Polyubila ya na pechal svoyu"), in the role ofa vocal orchestra, inthe field of sacred music CLiturgy\ocalan gon inthe Sergey Rackmainats works of St. Jabn Chrysostom, “Nightlong vigil”, as a personification of choral roles in musical theatre (Opera “Francesca da Rimini") and dramatic emphasis in vocal and symphonic music (“Sprit “Thee Russian songs “Thus, the objectives ofthe study the study of vocalze inthe S. Rachmaninoffs works from the historical, theoretical and practical aspects of musical science have been filly achieved. [n comparison with scientific works on typologieal and seylsie aspects of various genres, among which chamber vocal and choral occupy one ofthe central places (st ofall, lec us call the works of M. Kagan, G. Pospeloy, T. Chemova, E. Nazaykinsky, M. Mikhailow, M. Aranovsky), in which only general questions of dassifcation of genres are considered, in the present study the maximum results are achieved: vocalize appears a8 a unique artistic definition. In a relatively shore period of historical development, choral vocalize demonstrated a qualitative leap from episodic manifestation in major musical genres to genre diversity. In this regard, iis posible to assert the position of universality of choral vocalize in Russian music. In Rachmaninoffs work, voalize bbecomes not so much a means of compositional writing as an aesthetic and philosophical constant. The sated problems ‘were revealed in numerous musical examples, The goals and objectives ofthe study are flly resolved. Ifwe look more broadly, the designated aspects are not limited to purely Russian vocal and choral art. Voalises ae also represented in the music of other countries. Let us ecall the choral works of O. Messiaen (“Chorale”) and Z. 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