MODERN GUITAR MUSIC IN THE CONTEXT OF SOCIODYNAMICS OF CULTURE

Abstract

The article focuses on identifying the factors of sociodynamic development of modern guitar music in the context of the general laws of functioning of cultural cycles and their influence on the formation of new arrays of guitar repertoire.

Sociodynamics of guitar art is subject to the general laws of functioning of "cultural cycle" as a circular flow of information. Level of sociodynamics culture directly depends on the rate of exchange of new ideas, products, inventions. On the basis of A. Mole’s scientific works, the mechanism of circulation of information looped on the individual: from him (composer, performer) new product hits the microenvironment intellectual coterie of listeners and through (creative intellectuals) by mass media it transmits further to the macro – the society, public masses. The circulation of cultural messages forms a "mesh" or "mosaic" structure of the contact relations, the intensity of which depends on the speed and crossing the reserve communication channels. The processes, that occurred in the twenty-first century, with the appearance of the Internet global network dramatically reduce the distance in the cultural cycle and establish a direct link between individuals-creators and mass cultural environment. The effect of reaction to the demonstration of new guitar works can be immediate in speed and unprecedented in scale of connected audiences, the number of which is not able to accommodate any concert hall in the world.

Projecting theory of sociodynamics culture on guitar art, personal contacts are also marked as one of the biggest, most stable and reliable communication channels. This aspect is considered an example of personal creative contacts of the famous Spanish guitarist A. Segovia with many composers-contemporaries, such as J. Rodrigo, M. Ponce, H. Villa-Lobos, J. Turina etc., which resulted in the formation and development of professional guitar repertoire in the first half of twentieth century.

Then he passed the baton to a new generation of virtuosos, disciples and followers of A. Segovia. British artists of "first magnitude" – John Willliams and Julian Bream managed to draw attention to the guitar such major European composers like Benjamin Britten, Hans Werner Henze, William Walton, Lennox Berkeley. H. W. Henze wrote two sonatas "Royal winter music" (1976). From the pen of Britten overlooks one of the world's guitar masterpieces of the second half of the twentieth century – "Nocturnal" (1965).

So, thanks to the creative and friendly contacts with composers of A. Segovia, R. Sains de la Masa, and later N. Yepes, A. Diaz, I. Presti and A. Lagoya, J. Bream, J. Williams etc. actively start writing for guitar M. Ponce, Benjamin Britten, J. Rodrigo, H. Villa-Lobos, J. Turina, J. Moreno Torroba, H.W. Henze. This tendency exists on a larger scale and in our days, but now it has ceased to be the dominant creative initiative.

Without any exaggeration, it can be argued that the scale and speed of rotation of "cultural cycle" today even commensurate with the nearest past, not to mention his condition fifty or a hundred years ago. For the development of guitar music it has become a powerful social dynamic incentive, like a magnet attracting an audience of millions of admirers of this art, in any areas of it where interests of listeners can stand. The most traditional of the areas can be said for the archetypal genealogy guitar world (everyday folk music, song and dance, applied, ceremonial and entertainment secular culture, the academic tradition) draws its repertoire from the tanks European fund styles of different times and eras come a long way, greatly enriched. They were joined by alternative new areas, those collect no less motivated grounds audience of lovers of jazz guitar art, rock concerts admirers, followers of popular culture entertainment, electronic club music, and many other phenomena of contemporary subcultural space.

Status of the current stage of development of guitar music by composers scale initiatives can be considered rapidly progressive. Almost geometric progression is fixed by the magnitude of the absolute performance (the total number of works created during the last and the beginning of this century), since the second half of the twentieth century: from about 800 guitar pieces at all in first half of XX century to about 30000 works – during the second.

These facts reflect the increased rate of passage of "cultural cycle" and serve as direct evidence of a global demand of guitar art in our days. Its carriers are numerous galaxy of contemporary guitar virtuosos and composers all over the world, its repeaters – efficient modern mass media’s communication, integrators and recipients – multi-million audiences, fueling the collective energy of new requests for creative individuals.