Formation of semantics of academic vocal timbre

The purpose of the study is to identify the iconic properties of academic singing timbre that determine the perception of the content of vocal music. The article analyzes the evolutionary, biological, cultural and historical mechanisms of the formation of the semantics of singing voices. Their timbres are classified according to generally accepted nomenclature, and also correlate with the Barbara McAfee system. The subject of the study is the stationary part of the timbre of the voice, which is understood as a spectral complex determined by the natural anatomical and physiological characteristics of the singer. The overtone “coloring” of the voice is considered as an acoustic code, which, on the one hand, reflects the bodily-habitual and personality-social characteristics of a particular person, and on the other hand, creates universal archetypal “voice images” – stereotypes – important in the perception of both speech and vocal sound. The scientific novelty of the article is determined by a comprehensive methodology combining the approaches of theoretical musicology, natural sciences and humanities disciplines that study the human voice in one way or another. The result of the study was the conclusion that the timbre of the human voice is an unambiguous and unconsciously readable sign in voice communication and an important structure-forming element in the system of meanings of a musical composition. Therefore, when forming a concert and educational repertoire, performers and teachers should be guided not only by the aesthetic criteria and technical capabilities of the singer, but also take into account the inherent range of meanings associated with the sound of the voice. The choice of musical material, taking into account the semantics of the timbre of the performer’s voice, becomes an important step towards an adequate interpretation of the vocal composition.