Kyiv School of Solo Singing in the Middle of the 20th Century as a Phemonenon of European Vocal Performance

The purpose of the article is to create a systemic understanding of the phenomenon of Kyiv vocal school through the analysis of its various directions, which were formed in the middle and late 20th century and were realized in the performing and pedagogical practice of the teachers of Petro Tchaikovsky National Music Academy of Ukraine (Kyiv Conservatory). In particular, the article deals with the schools of Olena Muravyova, Mariia Donets-Teseir, Clara Brun, Ivan Patorzhinsky and Odessa teachers who worked at the Conservatory at the same time – Yelizaveta Chavdar, Bella Rudenko and Zoya Khrystych. The purpose of the study is to form a systemic understanding of the phenomenon of Kyiv vocal school and to prove its exceptionally important role among other European schools. The research methodology consisted in the application of the phenomenological method (search for the features which would help to call the subject of research a phenomenon) and the method of historicism. The key point of the problematics of this article is understanding Kyiv school of solo singing as a phenomenon. The scientific novelty of the work lies in the fact that Kyiv vocal school was systemically studied as a phenomenon in the context of other schools. In addition, a number of little-known directions were analyzed for the first time, which were once original phenomena in the process of its development. Conclusions. Kyiv school of solo singing is indeed a school of its own, and its national roots and the synthesis of the characteristic features of Western European (Italian, in particular) and Russian schools define it as a true phenomenon of European and world vocal performance. At the same time, it possesses a large part of identity, colorful pedagogical and scientific approaches, which makes it a significant phenomenon in the world of vocal singing