SPECIFIC SOUND PRODUCTION TECHNIQUES IN ACADEMIC GUITAR MUSIC

Authors

  • Tymur IVANNIKOV Dr. habil. of Arts, Associate Professor, Head of the Department of Theory and History of Music Performing, the Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine. E-mail: premierre.ivannikov@gmail.com https://orcid.org/0000-0001-7958-8799
  • Tetiana FILATOVA Ph.D, Professor at the Department of Theory of Music, the Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine. E-mail: filatova.tanya@gmail.com https://orcid.org/0000-0001-5869-631X

DOI:

https://doi.org/10.24193/subbmusica.2022.spiss2.08

Keywords:

guitar music, specific methods of sound extraction, modern guitar concert practice

Abstract

The article is focused on the problematic research area in the borderline between performance, musical and composer’s interests in academic guitar music. Modern growth trends have been identified in the sound production experimental reserves being not typical for the classical guitar performance stroke in concert practice until the early 20th century. A specific method typology of sound production has been proposed: using the technical performance parameters, phonic and visual sound effects, the origin, and primary, authentic realms of life. The connections with similar processes in other instrumental areas have been traced. The light has been thrown on technical and aesthetic facets. The specific methods in sound production stroke, the tone quality and acoustic characteristics varying in range, the expanded visual noise sound effects, and graphic images in the score have been examined. The artistic music samples of the whole generation of experimental composers, namely the French ones: Maurice Ohana, Roland Dyens, Francis Kleynjans and the Chilean ones: Juan Antonio Sánchez, Gustavo Becerra Schmidt analyzed through specific methods of guitar sound extraction have resulted in marked imaginative connections and associations with the content core of musical works.

References

Burtner, Matthew. Making noise: Extended techniques after experimentalism. New music USA. 2005. Link: https://nmbx.newmusicusa.org/making-noise-extended-techniques-after-experimentalism/

Davies, Hugh. Instrumental modifications and extended performance techniques. Grove Music Online. 2001. Link: https://doi.org/10.1093/gmo/9781561592630.article.47629

Filatova, Tetiana. Academic Performing Traditions of Chilean Guitar Art. Scientific herald of Tchaikovsky National Music Academy of Ukraine, vol. 131, 2021, pp. 26-37.

Filatova, Tetiana. Chilean Guitar Music: Modern Reconstructions of Genre Traditions. Scientific herald of Tchaikovsky National Music Academy of Ukraine, vol. 132, 2021, pp. 166-181.

Ivannikov, Tymur. Guitar art of XX century as a phenomenon of creativity. Zvoleyko Ed., Kamianets-Podilskyi, 2018.

Khrust, Nikolay. The Extended Instrumental Techniques. The Experience of Classification (PhD Dissertation). Moscow. The Moscow State Tchaikovsky Conservatory, 2018.

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Published

2022-12-20

How to Cite

IVANNIKOV, T., & FILATOVA, T. (2022). SPECIFIC SOUND PRODUCTION TECHNIQUES IN ACADEMIC GUITAR MUSIC. Studia Universitatis Babeș-Bolyai Musica, 67(Special Issue 2), 111–125. https://doi.org/10.24193/subbmusica.2022.spiss2.08

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