The dissertation is devoted to the identification of the expressiveness of the guitar in the cultural conditionality of its academicization by the principles of biedermeier and neo-biedermeier of modernity.
The work is devoted to the realization of the historical purpose of guitar art as something that prepared from the aristocracy of Renaissance artistic achievements and their transformation in the rococo salon to the spiritualized chamber music of the biedermeier era. A review of the multinational manifestations of biedermeier’s positions in substantiating the foundations of academic guitar creativity was carried out.
The ideas concerning the ancient and Byzantine grounding of guitar art, which as of particular importance for Spain, which in the second century adopted Greek spiritual singing, later rooted in Byzantium, and the related instrumental volume of kypharody-kypharistics, which gave birth to guitar artistic achievements, were highlighted. An analysis of historical data has shown that this guitar line was most widely accepted in the countries directly connected with Orthodox Byzantium, i.e. the South of Italy, inhabited by ethnic Greeks, the Gallic-French area, as well as the European East and Ukraine. The same historical analysis led to the hypothesis of the pro-Orthodox roots of the spread of stringed instruments in the Renaissance, and specifically the guitar, which is confirmed by the importance of the lute and guitar in France, which was a stronghold of Gallicanism, the lute and bandura in Poland and Ukraine, in German Bavaria with its Byzantine roots, etc.
The Greek foundations of guitar art are evidenced by the presence of the guitar in Greek folk orchestras since the 30ies of the nineteenth century, in the Italian South, which is characterized by a two-piece guitar and mandolin. It was the Spanish South, where the Gothic Orthodox state was formed, that became the origin of the national art and the art of guitar playing.
In the work attention is given to the historical circumstances of Spain, as well as England, Ukraine, and the European East in general, for which the development of the Renaissance period coincided with the Baroque and Classicist eras, which formed unique national features of expression in culture and art, which is why the aristocratic privileges of the guitar in Spain organically converged with the national emblem put forward in the nineteenth century.
It is observed in the work the evolution of guitar art from the representation of one of the leading instruments of the Renaissance to the Biedermeierian revival of Rococo salon achievements in the first half of the nineteenth century, which defined the attributions of guitar classics. The latter include: 1) the fundamental chamber soundwith the embodiment of the majestic ideas of monumental genres, which at that time were associated with the loudness of symphonic orchestration;
2) the music’s fullness of supra-individual spiritual lyrics with polyphony inseparable from it; 3) solidarity with the Mozartian rejection of Viennese instrumentalism in unity with the Italian genesis of European instrumental classics.
Certain ideological and political touches of Biedermeier’s self-expression, which significantly corrects the presentation of the creative biographies of L. Boccherini, D. Scarlatti, G. Rossini in their favor. Rossini in their affiliation with monarchist and counter-revolutionary circles of society, which compromised theirposition in general in the progressive understanding of the mission of art in post-romantic existence, but is unacceptable in the polymethodological post-avant- garde present are noted.
This established model of classical Biedermeierian instrumentalism and the guitar component in it served as the theoretical basis for the analysis of works by different authors and different national schools that historically formed this compositional style. These are the works by M. Giuliani and N. Paganini, who established genre sonata typologies as the foundation of classical guitar art. The intersection with keyboard and violin developments in the direction of high abstraction of sonata reflections of church strophicity and the emphasis on instrumental motor skills as a distinctive feature of guitar playing was revealed.
In the work pay attention to the works of German Austrian composers, who are famous for the development of guitar thinking within the Biedermeierian aesthetics of great in small in their basis on the sonata genre, presented with reference to the early sonata baroque variety. The contribution of Spain, represented by F. Sor, to the Biedermeier sonata typological layer is also highlighted, and the projections of the development of those institutions in the national emblematic awareness of the guitar’s expressiveness are analyzed. This stage of revealing the Biedermeierian background of thinking is carried out i
