Сюїта «Koyunbaba» Карло Доменіконі: риси орієнталізму в італійській гітарній музиці
Carlo Domeniconi’s suite «koyunbaba»: features of Orientalism in Italian guitar music

Summary/Abstract: The study is aimed at revealing the phenomenon of Orientalism in Italian guitar music on the example of the suite «Koyunbaba» by Carlo Domeniconi. Methodology. The research methodology is based on the use of phenomenological, comparative, structural functional methods that allow expanding the horizon of cognitive search and extract key characteristics of studying phenomenon. Scientific novelty. The scientific novelty lies in the analytical and performance perspectives of the study of one of the central oriental guitar opuses of the modern Italian composer. For the first time in the Ukrainian musicology the work is considered in the discourse of aesthetics and traditions of playing Turkish folk music. Conclusions. There are distinct traces of orientalism coming from Turkish, Indian, Chinese musical cultures in the guitar art of Carlo Domeniconi. The ties with the Turkish ethnos, the peculiarities of the eastern improvisational practice and the mores of playing the national instruments (baglama, ud) are the most prevalent. The specificity of the oriental sound of the suite «Koyunbaba» is revealed through the introduction of atypical guitar performing techniques (drone, kayde), and also thanks to the original re-tuning of the guitar (scordatura), imitating Turkish string-plucked instruments. The intonation and meter-rhythmic basis is based on the elements of the Turkish microchromatic modal system (ussak and cargah makams) and aksak-rhythm. In the composition aspect, «Koyunbaba» combines the European suite model and the eastern principles of form deployment (meditation, improvisation, free variation).

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