Non-European motives in the guitar music of Roland Dyens: «Tunis, Tunisie», «Trois saudades»
DOI:
https://doi.org/10.32461/149824Keywords:
French guitar music, the creativity of R. Dyens, non-European elements, Tunisian music, Brazilian saudadeAbstract
Purpose of Article. The aim of the work is to study the influence of non-European (African, Latin American) musical archetypes lying in the sources of Tunisian and Brazilian folk music on the style of Roland Diens in the guitar cycles ”Hamsa” and "Three saudadas”. Methodology. The research methodology is based on the use of phenomenological, comparative, structural-functional methods that allow to expand the horizon of cognitive search and extract critical characteristics of studying the phenomenon. The scientific novelty of the study lies in the phenomenological approach to the analysis of the guitar works of Roland Dyens. The analysis revealed the impact of the archaic historical and cultural traditions of Tunisian and Brazilian ethnic groups. Conclusions. Analyzed guitar compositions - "Hamsa,” "Three Saudades” - reveal primary genre and language connections with primordial folk instruments, musical vocabulary, and ritual attributes. From the African (Tunisian) components it was found the analogies with the sound of stringed-plucked and percussion instruments (ud, rabab, and darbuk), Middle Eastern rhythm formulas (duek), Arabic frets (neveser, hijaz, nikriz). From Latin American (Brazilian) ethnic attributes it has been traced the connection with religious rituals (”Festa do Bonfim”), a syncretical fusion of Indian, European and African elements (saudade, choro, baiao).
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