NEW PARADIGMS IN VOCAL EDUCATION AT CHINESE UNIVERSITIES: ANALYSIS OF MUSICAL- STYLISTIC CROSSOVER

Abstract

The article examines the process of shaping new paradigms of vocal education in Chinese higher education institutions, driven by the growing influence of musical-stylistic crossover. The author analyzes the evolution of the Chinese vocal scene from the rigid opposition of three autonomous systems-bel canto, folk singing, and popular singing-toward their active synthesis in the creative practices of contemporary performers. Through theoretical reflection on global trends in cultural synthesis and empirical analysis of specific works by leading artists, the study constructs a systematic typology of Chinese vocal crossover. The study also spells out the stable performance paradigms that have emerged from this synthesis. One central finding points to a structural mismatch: traditional vocal training no longer fits the realities of today’s stage. To bridge this gap, the author proposes a cross-over integrative training model—one that builds a musician-creator capable of stylistic analysis, technical synthesis, and cultural interpretation.