RIO PLATEN GENRES IN THE WORK OF ARGENTINE GUITARISTS-COMPOSERS

Abstract

The article examines the musical creativity of Argentine guitarists-composers of the 20 th-21 st centuries in the
context of a specific genre panorama and local sound landscape of the Rio de La Plata region. The aim of the article is
to identify the specifics of Rio Platane genres in the work of Argentine guitarists-composers.
Scientific novelty of the article. For the first time in the Ukrainian scientific space, the music of Argentine guitaristscomposers
has been considered in the context of the specifics of the regional genre panorama and local sound landscape. The
research methodology is based on the methods of historical-theoretical, structural-functional, comparative analysis to
determine the morphology of Rio Platane genres embodied in the musical works of guitarists-composers.
Results. Taking into account the toponymic features of the port agglomeration of Buenos Aires, the national musical
and everyday traditions of the autochthonous segments of the population, as well as Creole and Afro-American areas, the
features of typical Rio de la Plata genres – tango, milonga, tonada, murga, candombe – are characterized from the standpoint
of the morphology of rhythmic patterns, intonations, musical poetics, semantics and timbre coloring. The linguistic resources
of these genres demonstrate a mixture of musical elements of different ethnogenesis. The analytical objects chosen are famous
guitar cycles and miniatures by guitarist-composers who are considered architects of the Rio Plata soundscape of Argentina:
«Argentine Tango», «Milonga Campera», «Milonga Urbana», «Milonga del Viente» by Jorge Morel, «Rio Plata Suite No. 1»
(Tango, Milonga, Murga, Candombe), «Elegy on the Death of Tanguero», «Three Essays on a Sketch of Kandinsky» by
Maximo Diego Pujol, «Cielo Abierto» (Candombe) by Quique Sinesi. The analysis highlights guitar performance means of
imitating traditional Argentine and Uruguayan ritual practices of playing percussion instruments of African origin in local
carnival processions. Modernized versions of Rio Plata genres, created by Argentine guitarists-composers, enrich listeners'
ideas about the traditions of collective and everyday creativity of this region in its newest projections: concert-performance,
individual-style and represented in bright interpretative solutions. They reflect the past and are updated with the linguistic
resources of today's music, its professional achievements in academic and non-academic fields. The prospects of research
open up new dimensions – anthropological, ethnographic, cross-cultural.