VIDEO SEQUENCE IN CONCERT PERFORMANCE ОF THE MODERN GUITAR PLAYER AS A FACTOR OF EXPANDING COMMUNICATIVE PROPERTIES

Abstract

Aim of the work. The article defines the role, types and specific properties of using a video sequence in a concert performance of a modern guitarist with the aim of expanding the communicative properties of the instrumental play. The research methodology consists in the application of aestheticcultural, 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 specifics of techniques in the use of video-photo materials in order to find new facets of an individual concert-performance style. Emphasis is placed on creating a synergistic spatio-temporal integrity of the presentation of the musical image in the performance of both programmatic and purely instrumental compositions. Conclusions. Recently, more and more instrumentalists-performers think about and implement in academic concert practice a number of video and/or photo (visual) materials that contribute to strengthening the aesthetic and emotional impact of a musical piece based on the natural synergy of perception. Holistic perception, in accordance with the principles of synergy, occurs thanks to the organized interaction of many channels of different types, which is an important argument in favor of the synthesis of arts, as well as for the performing concept of using a video (photo) sequence in parallel with an instrumental performance on stage, even in compositions, that were not predicted by their authors to take part in synthesis kind in question. Such ‘enhancement’ of the spectacle of an instrumental performance should not ‘overshadow’ the traditional means and ways of influencing performance concertism and mastery, the founders of which were F. Liszt and N. Paganini, or the individualized intimate-philosophical chamberness of musical expression, but, under the conditions of a competent selection of visual material, is capable of connecting additional pulses of parallel perception. Such addition of a visual channel of communication is also a creative laboratory of the performer, in a certain way related to the composer’s and director’s laboratory, creating an actual vertical connection of times and spaces of art and life.