SPECIFICITY OF EDUCATIONAL AND PEDAGOGICAL PRINCIPLES OF GUITAR PLAYING IN PRACTICE OF ŠTEPAN RAK (CZECH REPUBLIC)

Abstract

The proposed article examines the main educational and pedagogical principles of the famous modern Czech guitarist of Ukrainian origin, Štepan Rak. His many years of performing experience and teaching practice in leading educational institutions in Europe (Finland, Czech Republic), numerous master classes around the world, multi-genre compositional creativity allowed to form the author’s unique and holistic concept of teaching guitar playing for beginners and experts. The basis of the artist’s pedagogical and methodical work is based on the educational traditions of his teacher Š. Urban. The scientific novelty and purpose of the article is the introduction into the scientific circulation of Ukrainian art history of the generalization of methodological and pedagogical principles of Š. Rak (Czech Republic) in guitar playing. The main methodological approaches and research methods are historical-chronological, analytical, and comparative. Рhilosophical and aesthetic approach in Š. Rak’s concept involves the perception of the guitar as an instrument for musical expression, communication with listeners, a guide to the world of high art. The methodological approach takes into account the specifics of the five-finger technique of sound production, which should be applied from the initial stage of mastering the instrument, and the formation of «prudent» playing skills by observing the movements of the fingers in both directions of string activation. The repertoire approach of Š. Rak’s guitar technique takes into account age, technical, artistic and educational tasks, taking into account the student’s physiological indicators and musical abilities. An analysis of his works for elementary education serves as a supplement to Š. Rak’s educational and methodological concept. Art for children, among other Š. Rak’s activities, takes a separate direction, aimed not only at mastering the instrument in its sound-producing and stroke positions, but also at understanding the basics of interpreting a musical piece on the guitar, overcoming stage anxiety and gaining stage experience of performance and interpretation. Conclusions. Methodological and pedagogical principles of Š. Rak can be conditionally divided into several approaches: philosophical-aesthetic, methodical, repertoire. Each of the approaches contributes to the formation of not only specific performance skills of the guitarist, but also the implementation of educational and axiological tasks.