The process of transformation, styles and methods of vocal pop performance in Ukraine at the end of the XX — beginning of the XXI century

The relevance of the article. Contemporary music, as a sociocultural phenomenon, is undergoing rapid transformation under the influence of the neo-industrialization — a process which began in the XX century and gained yet further momentum in the XXI century, becoming a major driving force behind the acceleration of cultural shifts. The musical culture of each nation is currently evolving in a process of close synthesis, giving rise to a new direction: experimentation in the fusion of the new and old, the popular and forgotten, the familiar and unfamiliar. This process is so rapid that it necessitates tracking its changes not even every decade, but every few years or even annually. The purpose of the article lies in investigation of the characteristic features of techniques and styles in contemporary Ukrainian pop music, stemming from the enrichment of pop art with diverse styles and shifts in societal demand. This investigation aims to inform the development of novel methodologies and the updating of vocal teaching tasks as of 2024. The methodology. The study employs the following general and specialized methods: historical approach, comparative, culturological and structural analysis, genre-stylistic analysis, and analytical methods. The results. Performance styles and techniques emergent in pop vocal music during the period from the late XX century to 2024 were analyzed. Using the examples of various performers from this era, the research demonstrates that the performance technique of pop singing is rapidly evolving and currently encompasses a wider range of styles and approaches compared to previous decades. Novel trends and experiments make contemporary pop performance a dynamic phenomenon, where new elements and emerging ideas can be consistently discovered, often on an annual basis. The scientific novelty. The study analyzes the performance techniques of contemporary Ukrainian pop vocalists, including GoA, Jamala, Jerry Heil, Alyona Alyona, ONUKA, and KOLA. To date, the performance techniques of some of these artists have not been comprehensively analyzed and discussed in musico-logical literature within the context of their contribu-tions to the development of Ukrainian performance and the diversity of performance techniques, including the examples from 2024. The practical significance. The findings of this research can be used for both further extensive investigations to track performance trends, and for the immediate performance practice of vocalists to diversify their repertoire and use of various vocal techniques. Conclusion. Contemporary Ukrainian pop music is characterized by a rich tapestry of diverse and independent styles and vocal techniques. Performers not only adhere to classical vocal training but also draw inspiration from other cultures, stimulating experimentation and the pursuit of novel soundscapes. They actively combine various styles and genres to achieve greater diversity and intrigue in their musical compositions. This trend is gaining traction among artists striving to create unique works that captivate listeners with their originality and innovation. Within the context of vocal teaching, this phenomenon presents both opportunities and challenges for vocal instructors. On one hand, instructors can focus on a specific style and work exclusively within its framework with their students. On the other hand, even in those cases situation described requires a multifaceted approach, imploring instructors to possess proficiency in a wide range of techniques, encompassing both academic and folk singing, as well as new emerging techniques.