The purpose of the article is to analyse the phenomenon of French vocal ensembles of the mid-20th century in the context of rhythmology and the rhythm-intonation of variety music. The research methodology is based on a historical and musicological analysis of archival recordings that trace the creative path of the performers and preconditions for the emergence of a new type of vocal technique. It also involves the study of sociocultural and technological factors that contributed to the development of a new mode of rhythmic thinking among contemporary vocalists. The scientific novelty of the research lies in the systematisation of the creative process that underpinned the formation of a vocal genre with a focus on the stylistic organisation of instrumental sound rhythm. It also identifies the role of French vocal ensembles in the development of rhythmology in the 20th century. Using the example of the ensemble Les Swingle Singers, the study analyses the rhythmic context of the synthesis of Baroque music with elements of jazz rhythm. The research reveals specific features of syllabic singing (scat) and the role of studio technologies in expanding rhythmic and timbral possibilities. It also explores the preconditions for the formation of the genre based on international musical interactions. The conclusions emphasise that the work of Les Swingle Singers became a landmark phenomenon in contemporary instrumental vocal art. As an example, the activity of the vocal ensemble Les Swingle Singers is examined, serving as a model of the synthesis between the aesthetic thinking of classical composers and the integration of jazz consciousness into the context of post-Renaissance music. In the second half of the 20th century, global musical culture underwent significant transformations at the intersection of emerging styles in jazz and classical music, alongside the influence of sound recording technologies. These shifts contributed to the development of new forms of performing arts. French vocal ensembles, combining classical heritage with jazz stylistics, played an important role in shaping synthetic genres. In the 1950s, a genre of instrumental vocal music emerged in France, blending Baroque aesthetics, swing tradition, and jazz improvisation. Under the direction of W. Swingle, Les Swingle Singers became the leading ensemble of this movement, synthesising classical works with the rhythm-intonational features of jazz vocalism, based on the syllabic singing technique known as scat. As a result of the ensemble’s creative exploration, a new genre of polyphonic vocal performance emerged within academic music, characterised by an extensive use of swing rhythm, synthesised with studio recording technologies based on the double-tracking system. This innovation significantly influenced the development of new genres in variety music. By synthesising Baroque music through the lens of jazz rhythm, the ensemble reached a new level in the perception and expression of rhythmic and intonational sensitivity. By reinforcing rhythmic pulsation through the rhythm section ‒ bass and percussion ‒ the performers achieved a stable jazz pulse and a characteristic swing style. The ensemble’s original lineup (1962–1973) laid the foundation for the genre of contemporary instrumental vocal music within the context of classical music on a global scale. Preserving the artistic legacy of the ensemble is key to understanding the interaction between tradition and innovation in the rhythmic organisation of modern music rhythmology.
Tetyana Samaya (Mon,) studied this question.