Особливості стилю Фламенко в гітарній музиці ХХ століття

Abstract

У статті досліджено формування і шляхи виникнення гітарного виконавського стилю Фламенко. Охарактеризовано стиль Фламенко загалом, наведено кілька варіантів пояснень стилю Фламенко. Проаналізовано роль складових частин виконавської групи, що виконують твір Фламенко та їх функції у виконанні Фламенко. Окреслено історичний шлях формування стилю Фламенко. Розкрита стильова особливість використання специфічних прийомів гри на гітарі при виконанні гітаристами музики Фламенко. Проаналізовано матеріали сучасних дослідників та виконавців Фламенко. Зроблено спробу виділити специфічні особливості стилю Фламенко в гітарному виконавстві, що дасть змогу глибше зрозуміти традиції виконання Фламенко на гітарі.

В статье исследовано формирование и основные пути возникновения гитарного исполнительского стиля Фламенко. Охарактеризован стиль Фламенко в целом, приведены несколько вариантов определений стиля Фламенко. Проанализирована роль отдельных составных частей исполнительской группы, исполняющих произведение и их функции в исполнении Фламенко. Очерчен исторический путь формирования стиля Фламенко. Раскрыта стилевая особенность использования специфических приемов игры на гитаре при исполнении музыки Фламенко гитаристами. Проанализированы материалы современных исследователей и исполнителей Фламенко. Предпринята попытка выделить специфические особенности стиля Фламенко в гитарном исполнительстве, что позволит лучше понять традиции исполнения Фламенко на гитаре.

Polyculture tendencies are traced in many forms of art. The modern world, with the possibilities of rapid communication and globalization, brings together the cultures of different countries, different ethnic and religious groups. In the field of musical performance, it also unifies the ways of communicating the musical image through the performance of music on the instrument. So, the guitar, becoming a classic academic instrument in the twentieth century, began to be used in all corners of our planet. Music that was performed in only one socio-cultural environment, with its own peculiarities, is now performed worldwide by musicians from different countries. The purpose of the article is to understand, analyze, and deepen the study of the style of Flamenco. The content of the article reflects the main features of the flamenco style in guitar music of the twentieth century. The study of the problems involved musicologists, critics and singers, guitarists Ukraine and abroad. Origins of Flamenco style is the subject of disagreement. Spanish Dictionary, primarily explains the creation of the style by the Spanish Gypsies. Of the hypotheses regarding its origin, there are widespread statements that flamenco developed through intercultural exchange between representatives of Andalusia, Gypsies, Castilians, Moors and Sephardic Jews who lived in Andalusia. Flamenco in its strictest sense, is a professionalized art-form based on the various folkloric music traditions of southern Spain in the autonomous communities of Andalusia, Extremadura and Murcia. Singing and dancing are accompanied by playing the guitar and castanets. Flamenco’s dance and accompanying guitar music come from southern Spain in the Andalusian region associated with Gypsies. The Flamenco style has many common features with the Moorish musical culture, and this is the result of the emigration of the Moors from the African continent to Spain. Mauritania is an Islamic republic in northwestern Africa, bordered by the Atlantic Ocean, Senegal, Mali, Algeria and Western Sahara. Moorish music is influenced by the Arab tradition. Traditional musical instruments – harps (ardyn), drums (tbal, daguma), kalyam, bark, kusal (noise), lute (gambra, tidinit), membrane players, rbab (or rebab – bow), tom-toms, flutes (zamzaya, neffara). From XVI century, flamenco in Spain existed in the underground as popular art Andalusian Gypsies. And only in the twentieth century, when the instrument of the guitar acquires its modern structure. Flamenco comes out of the underground and, at the same time, begins to quickly improve, embodying all the centuries-old folk traditions. And as you know, advanced guitar performers have been able to perform virtuoso music, music that is filled with a wide dynamic and timbral spectrum. The performance of flamenco music on the guitar is accompanied by rhythmic tapping on the upper deck of the guitar body, and used typical attacks on muted strings, which simulated percussion instruments. In the performance of flamenco on the guitar, the main role is given to rhythmic accompaniment. This feature encourages artists to use techniques that imitate percussion instruments. In the XX century flamenco guitar technique clearly entrenched basic tricks colorful, which traces the cultural traditions of African Moors. And as you know, in the musical culture of the African Moors the main instruments were (still remain) a string instrument – tidinitis and gambra (lute with four strings) and a percussion instrument – tbal. It is the sound of strings with rhythmic blows on the guitar`s body – was fixed in the performing technique of flamenco guitarists of the present and the last century. This article is a starting point for attracting the attention of artists and not only Flamenco`s researchers, but also to other regional arts that have gained worldwide significance, to increase the flamenco ethnographic research. Thus, artists guitarists, art historians can better understand the socio-cultural significance of this artistic phenomenon in many different geographic regions and in different contexts. To be able to reliably convey the value of a flamenco work, interpreting it in creativity and in work.