Guitar duets by Jaime Zenamon: the sound-image resources of the instrument
DOI:
https://doi.org/10.31318/2522-4190.2023.138.294795Keywords:
Jaime Zenamon's guitar music, classification of special techniques of sound production, Andean sound, imitation of the timbre of authentic folk instruments, genre traditionsAbstract
The relevance of the article is to consider guitar music of Bolivian guitarist and composer Jaime Zenamon in the context of the development of the modern academic repertoire of classical guitar. The connections of his music with South American folklore traditions, the poetics of the Andean sound, and its timbre specificity were revealed in comparison with the works of famous Bolivian composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas.
Main objective of the study is to reveal the specific sound-image resources of the guitar in the duets of Jaime Zenamon in the context of searching tendencies of sound production and genrestyle appeals to a different ethno-cultural musical environment. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar work in particular into the domestic musicological circulation.
The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: historical facts of the composer's creative activity, his contribution to the modern Bolivian and Brazilian guitar repertoire; specifics of the content of selected musical phenomena in the interaction of genre-stylistic elements and sound-image resources of the instrument.
Results and conclusions. The classification of the guitar special techniques of sound production according to the technical parameters of the game, zones and means of sound extraction (percussion, plucking, glissanding, prepared) is represented: by phonic and sound-imaging parameters (imitation of timbres of other instruments, voices of nature and noises of various origins); by genre-communicative features, sources and environment of origin and living. In the analyzed Jaime Zenamon's duets "Casablanca", "Andean Sonata", the technical means of the game to reflect the sounds of the surrounding world are highlighted; processes of mixing its ethnocultural origins and genre traditions: Bolivian, Brazilian, Argentine, Middle Eastern, Moroccan, African American. Genre features of the Maghreb noobs of the Arabic oral tradition, the American foxtrot, the Brazilian samba, the Argentinean chacarera and malambo were revealed. A similar experience of using the latest playing techniques in the works of South American and European composers is given. On the basis of the systematization of specific methods of guitar sound production the new means of musical expressiveness in the field of timbre effects under the influence of the achievements of the composer's contemporaries and compatriots, as well as representatives of the European generation of artists were studied. The use of sound imaging innovations to reproduce the authentic sonosphere of culture, imitating the voices of nature, imitating the timbres of Bolivian aerophones, chordophones, Middle Eastern string-plucked instruments, as well as African percussion instruments were fixed. The correlation of associative-figurative series with timbral connotations, genres and intonationscale models were revealed.
References
Ivannikov, T. P. (2018). Hitarne mystetstvo XX stolittia yak fenomen tvorchosti [Guitar art of the 20th century as a phenomenon of creativity]. Kamianets-Podilskyi : Vydavets PP Zvoleiko D. H. 392 p. [in Ukrainian].
Filatova, Т. V. (2022). Andski motyvy v peruanskii hitarnii muzytsi [Andean motives in Peruvian guitar music]. In: Ukrainska kultura: mynule, suchasne, shliakhy rozvytku [Ukrainian culture: the past, modern, ways of development]. Rivne: RDGU. Issue 42, pp. 91–102 [in Ukrainian].
Filatova, Т. V. (2023). Boliviiska «muzyka vitru» v hitarnii tvorchosti: aspekty khudozhnoho vtilennia [Bolivian «music of the wind» in guitar works: aspects of artistic implementation]. In: Naukovyi Visnyk Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho [Scientific herald of Tchaikovsky National music academy of Ukraine]. Kyiv: UNTAM. Issue 136, pp. 179–197 [in Ukrainian].
Almeida, C. L., Rossatto de Mello, L. H. (2007). Casablanca op. 77, de Jaime Zenamon: A Produção Brasileira para Violão. In: 1 Simpósio Acadêmico de Violão da Embap (1 a 6 de outubro de 2007). Embap. 17 p. Available at: https://www.academia.edu/18375166/Mello (last access 11.01.2023) [in Portuguese].
Angulo, R. M. (2014). Música, cultura y transformación: panorama de los estudios sobre antropología de la música y las tendencias en Bolivia en el siglo XX. In: ArqueoAntropológicas. Cochabamba. Año 4, Nº 4, pp. 161–194 [in Spanish].
Ivannikov, T., Filatova, T. (2022). Specific sound production techniques in academic guitar music. In: Studia UBB Musica. Cluj-Napoca. LXVII, Special Issue 2, pp. 111–125. DOI: 10.24193/subbmusica.2022.spiss2.08 [in English].
Lozada Tenório, L. E. (2010). Sonata andina de Jaime M. Zenamon: análise técnicointerpretativa resgatando a visão do compositor sobre sua obra. Curitiba: Escola de música e belas artes do Paraná. 48 p. [in Portuguese].
Villalpando, A. (2002). En torno al carácter de la música en Bolivia. In: Revista Ciencia y Cultura. N 11. La Paz: Universidad Católica Boliviana. pp. 124–128 [in Spanish].
Villapando, A. (2007). Una reseña sobre la música contemporánea boliviana. In: Nuestra America. Porto. Enero-Julio, № 3, pp. 163–173 [in Spanish].
Wilczek, L. A. (2004). Jaime Zenamon. In: Perfil — Entrevistas: Violão Intercâmbio. pp. 118–126 [in Portuguese].
