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Title of the article: |
FEATURES OF MASS CULTURE IN WORKS FOR GUITAR BY RUSSIAN COMPOSERS OF THE 20TH CENTURY |
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Author(s): |
Yulia A. Finkelshtein |
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Information about the author/authors |
Yulia A. Finkelshtein — PhD in Art, Associate Professor, member of the Union of Russian Composers, Department of musicology, Institute “Maimonides Academy”, A. N. Kosygin Russian State University (Technologies. Design. Art), Sadovnicheskaya St., 52/45, 115035 Moscow, Russia. |
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Section |
History of Arts |
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Year |
2022 |
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Volume |
Vol. 64 |
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Pages |
pp. 304–315 |
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Received |
September 22, 2021 |
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Approved after reviewing |
November 16, 2021 |
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Date of publication |
June 28, 2022 |
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DOI: |
https://doi.org/10.37816/2073-9567-2022-64-304-315 |
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Index UDK |
785.1 |
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Index BBK |
85.315(2)6 |
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Abstract |
The influence of subculture is characteristic for academic works of the 20th century, including those written for a six-string guitar and compositions with a guitar part. Many authors have recognized the instrument as an attribute of mass culture since the Middle Ages. Democracy as a historical property of the guitar leaves its mark on academic music that addresses it. Having never been a part of orchestras before, guitar becomes a permanent and almost the main member of the jazz ensemble. The paper discusses the diversity of embodiment of the features of mass culture in academic Russian guitar works of the 20th century. Melodic and harmonic features of the proletarian song are introduced by composers of the Soviet period (Asafyev, Shebalin, Retchmensky, Kamaldinov) into guitar opuses. The author shows that the instrument is perceived by composers of the second half of the century as a phenomenon of mass culture, and therefore the introducing of guitar into the score entails the use of means from its arsenal — melodic-harmonic, rhythmic, textured, compositional. The specifics of the film industry express themselves in the introduction of a part of the soundtrack into the work, the use of montage techniques. The study revealed that the influence of pop music and jazz styles manifests itself in pieces for the guitar solo by composers of the second half of the 20th century, whose style is formed on the basis of performance (Vinitsky, Rudnev, Koshkin, Kozlov). |
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Keywords |
mass culture, postmodernism, Asafyev, Schnittke, Eshpay, Slonimsky, Koshkin, Rudnev, six-string guitar. |
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References |
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