ORGANIZATION OF GUITARISTS’ CONCERT EVENTS IN THE CONDITIONS OF DISTANCE LEARNING

Abstract

The article analyzes the possibilities for organizing concert events for guitarists in terms of distance learning. It is highlighted that the introduction of distance learning on March 12, 2020 has made changes in the organization of the domestic educational process; the acquisition of competence, which involves interaction with the audience to convey musical material during a public performance, was threatened. The experience of famous artists in overcoming the creative crisis is analyzed. N. Paganini said that even for one listener he would play with inspiration; G. Gould argued that the artist should be given anonymity; D. Matsuev, after the first concert in an empty hall, said that such concerts are needed primarily for the public, which now forced to sit at home and unable to attend a concert hall; A. Bocelli said that thanks to live music that unites millions of folded hands around the world, we will embrace the pulsating heart of this wounded land, employees of the Lviv National Philharmonic launched a project “Sound of the Lviv Philharmonic”, which is needed for Lviv residents who pay attention to the music heard on the street and musicians who realize their potential in online concerts. The problems of guitarists that arise when working in a music studio are identified. It is established that young performers often do not take into account the issues of room acoustics when organizing concert events. It is generalized that there are several options for the implementation of concert activities of guitarists in terms of distance learning: the organization of a concert in an empty hall with video recording for further placement on Internet sites; audio or video recording in a music studio; shooting short video clips at home (using a phone, webcam, camcorder, etc.), which can be an advertisement for the artist, or a message about the organization of a creative event.