Культура України (Feb 2020)
Coloristic Means of Expression in Contemporary Composers’ Works for Guitar Quartets
Abstract
Problem statement. The 21st century sees a reinvention of the image of guitar in the context of the new music landscape and an increased interest to ensemble guitar performance art. Coincidentally, composers in search for a new creative development are turning to coloristic means of musical expression. The works for a guitar quartet analyzed in this article demonstrate the use of these coloristic means of musical expression. The aim of the article is to define the aspects of using coloristic means of musical expression in the works for a guitar quartet. Research methodology. The article applies the scientific methods such as analysis, synthesis, induction, and the historical method. The study is based on the scientific research in the field of musical colouristics in search for a common approach to using coloristic techniques as well as individual authors’ fingerprints that define their style. Results. The early 21st century is a period of growth and flourishing for the art of the classical guitar. Within a hundred years the guitar underwent a considerable evolution in multiple aspects: the organological, the performative, and the repertory. It must be specified that along with the development of the guitar as a solo instrument, ensemble performance flourished as well. A guitar quartet, as one of the most universal ensemble types, is qualified by a rich palette of coloristic possibilities. Looking at works that have been analyzed, it is possible to define their individual approaches to using coloristic means. These serve to: Convey a visual and audial image; As deviation from the traditional sound of a guitar; Reproduce a traditional ethnic flair; Communicate an emotional state in a deeper and more meaningful way. Novelty. The article considers the coloristic qualities of means of musical expression in works for guitar quartet written in early 21st century. It analyses the works by A. Andrushko, V. Bogatyriov, K. Maydenberg-Todorova and A. Castilla-Ávila. It reveals the characteristic qualities of the composers’ individual author’s fingerprint and the role of coloristic means in their works for four guitars. The practical significance. The results of this research can be applied in the field of musicology as well as in the practice of performance and interpretation. Conclusions. The analysis of guitar quartet works by A. Andrushko, V. Boga-tyriov, K. Maydenberg-Todorova and A. Castilla-Ávila shows specific tendencies in the use of means of coloristic expression characteristic of contemporary guitar music. The results of this analysis enable to consider coloristic means of expression as an indispensable part of contemporary guitar ensemble music.
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