The study is devoted to the analysis of the works of Latin American composers of the 20th – early 21st centuries for the guitar in its theoretical, historical and performing dimensions. The significant part of the repertoire of Latin American music in the works of modern guitarists of Ukraine, the need to study the history of its creation, analysis of its genre and style features and reliable performance interpretation has highlighted the need to choose a research topic. The object of research is the genre and style specifics of Latin American music, the subject of research is the works of Latin American composers of the 20th – early 21st centuries for guitar in the synthesis of its theoretical, historical and performing components.
The aim of the dissertation is to determine the Latin American component of the guitar art of the 20th – early 21st centuries in composition and performance interaction. At the same time, the following tasks are to be accomplished: to analyze the historiographical, source and methodological bases of the research; to comprehend the main stages of development of the history of Latin American music and its guitar component; to specify the contribution of Latin American composers of the 20th – early 21st centuries to the guitar art; to study and generalize folklore sources of guitar creativity of Latin American composers; to systematize thematic, genre and stylistic features of Latin American composers achievements for guitar; to differentiate the individual personal achievements of composers and performers of Latin American guitar music; to systematize representative examples of Latin American music in guitar performance and sound recordings of Ukrainian artists.
In the dissertation, for the first time in Ukrainian art history, the general characteristics of Latin American music and its guitar features were introduced into scientific circulation; the source base of research of Latin American music in general, and guitar, in particular, is generalized; genre and thematic features of works for guitar by Latin American composers, in particular original compositions and their versions are systematized; the folklore origin of compositions for guitar by Latin American composers is revealed; specific techniques of playing and features, rhythmic and textural formulas in the original works and their versions for guitar by Latin American composers are classified; the representative aspects of Latin American guitar music in the Ukrainian performance of the end of the 20th – the beginning of the 21st centuries are generalized, in particular on the examples of concert and sound recording activity. The musicological and performance analysis of guitar works by Latin American composers, revealing their contribution to the world musical treasury, is updated and extended.
The musical culture of Latin America is a complex phenomenon, historically formed on the basis of American (Indian), European (primarily Spanish and Portuguese) and African sources. The significance and influence of each of them manifested itself in different parts of the American continent, depending on the level of Native American culture, the presence and size of the African American population, the region’s ties with the metropolis, its economic, political and cultural development as well as other cultural and historical characteristics. At the same time, these three genetic roots can be clearly traced in the structure of modern folklore music in Latin America, in which Indian, Creole and African American music with a number of intermediate (transitional) “layers” can be distinguished. Based on these components, only Native American music is defined as a local, indigenous culture; Creole and African-American music is relatively young cultures that were formed in America during the 16th and 18th centuries, and modern stylistic features started to form only at the end of the 19th century. During the 20th century in Latin America, namely in Brazil, Argentina, Paraguay, Chile, Mexico, Cuba, and others, academic guitar schools were formed and original compositions, which gained wide popularity, were created.
The source, historiographical and methodological aspects of the study (Chapter I) were analyzed by the author. In particular, the types and sources of study of Latin American music for guitar were classified, which allowed to differentiate them into scientific print, sheet music, audio and audiovisual. According to the stylistic features of Latin American music, several main regional styles can be singled out: Andean, Central American, Caribbean, Argentine, Mexican, Brazilian. They reflect both the authentic folk traditions and the influence of professional trends as well as compositional creativity of European and American music.
