European guitar music of the twentieth century as a major historical and cultural section is presented in the form of a global and dynamic platform that unites heterogeneous processes and phenomena. Its empirical basis is a huge array of creative phenomena created by generations of composers and performers. The key localization was the search for the essence of these phenomena, their semantic aspects and content layers. The new direction of the study of guitar music from the standpoint of phenomenology as a broad interdisciplinary discourse opens the prospect of learning the essential characteristics of musical works in order to deepen their performance interpretation.
Phenomenology of guitar composing creativity of the twentieth century is represented at different methodological levels: strategic (search for meanings embedded in music); tactical (multi-vector approach to the extraction and disclosure of these meanings); system (the constitution and panning of phenomena in structural units of different scales, their relationships and mutual influences). The intentional-discursive approach is proposed as an effective mechanism for studying guitar works, integrating the philosophical ideas of phenomenology, phenomenological procedures (description, ideation, targeting, reduction, constituting, hermeneutic interpretation) into a modern musicology apparatus. Sociodynamic factors of development of modern guitar music are revealed. On the basis of a generalization of the empirical base of the research, the idea of evolution the guitar art in the context of changing musical and aesthetic paradigms was further developed.
The thesis systematizes the achievements of performers and composers of Spanish, English, Italian, French, German, Polish, Balkan, Ukrainian schools. Their specificity and national identity, as well as the impact on the whole global system of world guitar art are defined. Central guitar works by A. G. Abril, B. Britten, D. Bogdanovic, M. Castelnuovo-Tedesco, C. Domeniconi, R. Dyens, A. Gilardino, H. W. Henze, L. Hrabovsky, F. Kleynjans, J. Rodrigo, M. Shukh, A. Tansman, W. Walton, that played a key role in the development of contemporary performing art and enrichment of the concert academic repertoire were analyzed. The connections of European guitar music with historical, ethnocultural, genre-style traditions of playing music, formed in Latin American, Asian, African cultures are revealed.
