On the research of the vocal folklore creations performing in contemporaneity

In this article we will try to elucidate the complexity of an unresearched problem in contemporary ethnomusicology related to the interpretation of folkloric vocal creations taken from the traditional environment and transferred to the performance stage, which has other rules and norms of interpretation. The process started with the emergence of the instrumental professionalism of oral tradition and was triggered in the 19th century when musical folklore became an object of study and promoted in the mass media. If until the beginning of the 20th century the natural environment of folklore was still present and the performer came from tradition with a well-prepared "baggage" of knowledge, and the conditions of public performance did not affect the essence of the performed productions, today the singer is schooled in the academic framework and needs theoretical and practical substantiation in order not to express himself on stage with vulgar amateurism, desecration of the traditional song.