Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek

The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.

Formula Latihan Teknik Tangan Kanan dalam Gitar Klasik: Shearer, Parkening, dan Werner

Classical guitar developed until now. Aspects and the surrounding area have also experienced developments such as the creation of new compositions, innovation in guitar construction, and the holding of performances that accommodate classical guitar. However, the author tries to raise another area that is quite important in learning classical guitar, namely the teaching method. Along with the development of the times and technology, the basic methods of learning classical guitar are becoming less attention. This article aims to dissect the most basic classical guitar methods and are limited to techniques and instructions for the right hand. This research is a descriptive study with a qualitative design and the classical guitar method book document as an object. The objects raised are the classic Classic Guitar Technique from Aaron Shearer (1963), The Christoper Parkening Guitar Method, Vol. 1 (1997), and the Classical Guitar Method from Bradford Werner (2017). The results of this study present the formula of each method offered to train the right hand in playing classical guitar in their own way. In closing, the authors hope that the classical guitar method remains the basis for learning classical guitar and is further developed in the future.Keywords: classical guitar, right hand, classical guitar method

Guitar activity of Ukrainian physician Mykhailo Polupaienko

Ukrainian guitarist Mykhailo Polupaienko's persona is investigated in order to make creative profile of this musician. To achieve the objective was collected biographical data, repertoire and composers portfolio, information about connections of the guitarist with other musicians. Contemporary guitar handbooks and photos of the musician and his colleagues were also subjects of investigation in order to figure out features of his guitar techniques. Hypothesis about dr. Polupaienko's fingering principles were proposed, along with definition of general stylistic direction of his repertoire. Lot of attention were put to design peculiarities of his guitar, analyzed hypothesis about origin of the instrument and luthier identity. It is proven based on collected data that dr. Polupaienko belongs to school of J. Decker-Schenk, Petersburg's guitarist of Austrian origin. Specific features of guitar technique of J. Decker-Schenk's school and it's representative dr. Polupaienko are discovered. It is perspective to further investigate pieces and arrangements by dr. Polupaienko as it will help to detect features and peculiarities of his composing approach.

Santana and the Metaphysics of Tone

Throughout his career, Carlos Santana has used music to express his idiosyncratic spiritual beliefs. Pursuing the guidance of guru Sri Chinmoy in the 1970s and subsequently seeking his own spiritual path, Santana sought to channel a higher power through his guitar technique and tone, describing the process of music making as a mystical endeavor. In order to attain these goals, Santana used amplifiers that prioritized depth of sound (described by himself in synesthetic terms), feedback loops for his signature sustained tones, an avoidance of hypermasculine performance, and a peaceful stage presence. This chapter investigates the role of timbre in Santana’s spiritual journey from the 1960s to the present.