Document Type

Theses, Ph.D

Rights

This item is available under a Creative Commons License for non-commercial use only

Disciplines

Performing arts studies, Musicology

Publication Details

Successfully submitted for the award of Doctor of Philosophy (Ph.D) to the Dublin Institute of Technology, 2014.

Abstract

This dissertation puts the spotlight on the music of Nikita Koshkin (b. 1956)—Russia’s most important composer for guitar and one of the world’s leading composers for the instrument—and, in particular, his ‘Megaron’ Concerto for guitar and string orchestra, composed in 2005 and premiered in 2006 by this author. Performance issues are discussed in detail, in an innately practical manner, so that the guitarist who wishes to perform this work will have enough information to assist him. Moreover, a guitar instructor will find valuable guidance, not only for teaching this particular piece and other guitar music by Koshkin, but with regard to the training of students in guitar performance in general. It also explores the manner in which guitar technique serves interpretation. In the latter respect, this dissertation covers pioneering ground in terms of pedagogical studies of guitar repertoire. The ‘Megaron’ Concerto is scrutinised according to the following features, which are indicating specific details of the Concerto: Dynamics; Articulation and Phrasing; Note Duration; Apoyando and Tirando; Fingering; Vibrato; Special percussive effects; Additional comments about slurring, and stopping unnecessary and dissonant resonance. These aspects are generalised throughout the so-called ‘General Remarks’, which can be arguably applied to almost any other guitar piece. En route, this dissertation presents an overview of the history of the guitar in Russia, a detailed biography of Koshkin and a discussion of the evolution of the guitar concerto as a genre. It also includes a performance edition of the ‘Megaron’ Concerto, featuring both the guitar part and the orchestral score, with detailed fingering for the soloist and changes from Koshkin’s initial score of 2005, carried out by this author with the composer’s approval. A CD recording of the Concerto by the prestigious Swedish company BIS is also included, along with a detailed plan of the way by which it was recorded.

DOI

10.21427/D7N88W

Share

COinS