MODERN WORLD TRENDS OF DEVELOPMENT OF GUITAR ART AND THEIR IMPACT ON THE FORMATION OF THE UKRAINIAN PERFORMING SCHOOL
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 20, Issue 1
Abstract
Guitar art is one of the leading areas of modern performing activities. Growing interest in the instrument, which is available both among professionals and amateurs, predetermines the steady development of the practice of playing the guitar. The monitoring of the actual trends related to the performance on the classical guitar is a task whose solution will contribute to the formation of ideas about possible perspectives of development of the national professional skill level of the game on this instrument. The aim of the article is to analyze the contemporary world trends in the development of guitar art and outline their influence on the formation of a Ukrainian performing school. Contemporary guitar was acquired only in the XIX century. Though different masters (Francisco Tarrega and Antonio Torres Gurado) have made efforts for this, however, the most important thing in adopting the new instrument design was the performers such as Andrés Segovia and Emilio Pujol. After all, in addition to the creation and modification of the instrument, its use is necessary, which at the practical level will prove its technical perfection and wide possibilities of its performance potential. Actually, the very innovations that were made in the XIX century influenced the modern use of the instrument. Since then, you can begin counting out, outlining those trends that have influenced the art of the present. An important feature is that the guitar becomes an instrument for which not only the Argentine and Latin American composers of the 20th century wrote works, but also the leading western innovators, founders of avant-garde currents in music. So many works, where ambiguous interpretations of the guitar arise, are formed by such composers as A. Schönberg, P. Hindemith, I. Stravinsky, P. Bullez. Turning to the world trends in composer practice, among the works written for guitar performances, one can note the increasing role of opuses, intended for solo performance. Moreover, these works that are of an extraordinary nature, they presuppose the presence of a technically high performance tape, serious requirements for artistic realization and large-scale plans for their interpretation. This is Benjamin Britten's “Nocturnal after John Dowland”, op. 70, a rather good example of the formation of a new level of guitar repertoire of a fundamentally different genre. To determine the high level of academic guitar art, a number of components are required: professional performance, training within the system of professional education and the presence of the original repertoire. In domestic music prac- tice, at the moment there are not enough works designed for guitar performances. The development of the academic branch in the field of guitar performances in foreign space was carried out through synthesis with certain achievements of pop and jazz performances. In domestic practice, such interaction between academic music and variety, as well as academic music and folklore is only intended as a promising direction. A similar dialogue within the framework of crea- tivity and performance of contemporary guitarists is such that their versatility and professional demand will be possible. It should be noted that compared to the Western European musical culture, Ukrainian composers rarely choose a guitar as an instrument that can perform complex works, including concert-solo type. This direction can be further developed, presenting great opportunities for the realization of composing ideas.
Authors and Affiliations
Svitlana GRYNENKO
Keywords
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