CLASSICAL CROSSOVER AS A SYNTHETIC STYLE AND PEDAGOGICAL MODEL OF CULTURAL DIALOGUE IN CONTEMPORARY VOCAL ART

Abstract

The purpose of this article is to conduct a comprehensive study of the phenomenon of classical crossover as a synthetic vocal style and pedagogical model of cultural dialogue, in particular to identify its artistic, technical and interpretative features, as well as to outline the possibilities of using this style in the professional training of vocalists. The research methodology. The study is based on an interdisciplinary approach that combines methods of musicology, cultural studies and pedagogy. Cultural analysis was used to consider classical crossover as a phenomenon of postmodern culture and a model of cultural dialogue; a comparative-stylistic method was used to identify the characteristics of the interaction between academic and popular traditions; a historical-chronological approach was used to trace the evolution of the genre in the context of globalisation processes; an analytical method was used to study the performance and vocaltechnical aspects. The scientific novelty lies in considering classical crossover as a synthetic style and pedagogical model that combines academic and popular vocal traditions, contributes to the formation of universal performance competencies and intercultural dialogue. The technical and interpretative strategies of performers have been clarified, and the potential of vocal cross-training for integrating this style into the professional training of vocalists has been determined. Conclusions. Classical crossover is a landmark phenomenon of postmodern musical culture that combines academic and popular traditions based on the principles of polystylism, ‘open art’ and collage thinking. It performs aesthetic, cultural-educational and marketing functions, offering a conscious rethinking of cultural codes and expanding the audience for academic music. The vocal flexibility of performers, the combination of bel canto technique with pop elements and the concept of vocal cross-training shape the versatility and adaptability of artists. Despite criticism, the genre has established itself as a platform for dialogue between ‘high’ and popular art, and its integration into educational programmes will contribute to the development of a multi-genre and creative model of vocal training.