Репертуар виконавця-гітариста в ігровій комунікативній системі музики

Abstract

Aim of the work. The article defines the role of the repertoire in the concert work of a modern guitarist from the point of view of its communicative and playing principles. The research methodology consists in the application of aesthetic-cultural, historical, musicological analytical methods, as well as systemic, interdisciplinary and performing approaches, which form a single methodological basis. The scientific novelty of the article appears in the identification of the meaning, as well as the functional specifics of the repertoire with the aim of finding new facets of an individual concert performance style. Emphasis is placed on the communicative and playing specifics of presenting a musical image. Conclusions. The involvement of outstanding composers of the 20th century in the process of forming a new repertoire for the guitar led to a rapid growth of guitar art, an increase in the prestige of the guitar in the eyes of the world public, development of performing techniques and artistic possibilities of the instrument, emergence of new musical genres, which had a significant impact on the repertoire policy. As a result of the dialogic form of communication in the system of artistic communication, the performing repertoire has an extremely important function, becoming one of the foundations (one of the factors) of communication according to the principles of known/ unknown, emotionality/rationality, "golden fund" classics/modernity, etc., necessary for perception. Among the functions of the repertoire, following can be distinguished: informativeness, awareness, aesthetic education of the public, promotion of high artistic and philosophical ideas, posing urgent questions, popularization of an instrument, a specific genre, style, composer, performance school, country (nation), region, etc. Therefore, from a wide stylistic, genrediverse general repertoire, works that best characterize the musician and his instrument are usually selected for a concert (tour). The repertoire chosen by the performer (a list of performed works) does not arise spontaneously, but is guided by certain principles, sets various tasks and goals. In this aspect, we can talk about the repertoire policy, which determines the vectors of the musician’s creative activity.