Argentine folklore traditions and modern lexican in Alberto Ginastera’s Guitar Sonata

Abstract

The relevance of the study. The article explores the processes of reconstruction of Argentine Creole genres that arose in the historical context of everyday traditions of gaucho culture and were reinterpreted using avant-garde musical vocabulary in Alberto Ginastera’s Guitar Sonata.

The main objective of the study is to identify the mechanisms of the processes of reconstruction of Argentine Creole genres, to trace the genesis and transformations in the context of everyday gaucho traditions through the means of avant-garde musical vocabulary in Alberto Ginastera’s Guitar Sonata. The novelty of the article lies in the inclusion in the modern sector of Ukrainian musicological works of a detailed analytical coverage of the genre and style aspects of the work, as well as their updating with the linguistic resources of modern composition techniques. The methodology is based on a complex of historical, theoretical, structural-functional, systemic and comparative methods.

Results and conclusions. The composer’s genre priorities, connections with local customs, musical specificity of rhythmic patterns, intonations, performing techniques, plastic gestures, folklore idioms characteristic of tryste, vidal, milonga, malambo, gato, chacarrera are revealed. In the process of analyzing the text of the sonata, the connections of music with the motility of the traditional sound atmosphere of the inhabitants of the rural highland plains, its ritual-game and songlyrical poetics are articulated. The timbre imitations of percussion membranophones and idiophones (caha, cajon) are marked by specific guitar techniques adopted in folk music-making customs and the everyday environment of local sound landscapes. The genre nature of thematicism is considered in the dynamics of transformations due to the spectrum of individualized stylistic influences, intertextual borrowings (from Richard Wagner’s opera "The Mastersingers of Nuremberg"), the action of general compositional and technical paradigms of avant-garde vocabulary (microseriality, dodecaphony, aleatorics, metrorhythmic asymmetry of patterns, modal symmetry of octatonic structures). The genre and stylistic aspects of the material are considered taking into account the latest achievements of modern musicology, with the involvement of a basic complex of historical, theoretical, structural-functional, systemic and comparative methods. The contextual approach to the analysis of the Guitar Sonata has determined a wide field of linguistic interactions and search vectors of Alberto Ginastera’s work, deeply connected with national Argentine cultural traditions.