Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila

The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila. The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles. The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical notation-based analysis, interpretative analysis. The results. Microtonality, which originates from the ancient traditional musical culture, rapidly developed in the music of the XX century as a complexification and alteration of the equal temperament. Since the 1950s, which were marked by a qualitatively new type of guitar performance, there has been a gradual adaptation of the guitar technique to the performance of microtones. The combination of traditionally and microtonally tuned guitars in the ensemble allows the composer to use a wide range of microtonal systems (third, quarter tones and various edos — equal division of the octave). Agustín Castilla-Ávila is one of the most prominent guitar composers nowadays. In his works, microtonality appears to be one of the main creative and aesthetic principles. Decided not to modify the traditional classical guitar, Agustín Castilla-Ávila uses: –   retuning the strings (microtone scordatura) as the most effective way to get microtones on the guitar. In the works of the early period, the composer often replaces a set of guitar strings with six of the same type in thickness tuned in 36edo; –   extended techniques: band, bi-tone, glissando, playing with the slider; –   preparations. The whole list of microtonal ensemble works of A. Castilla-Ávila can be classified into three main periods. For early works six same strings and 36edo are typical. The next period is characterized by using of bi-tones and harmonics. In the third period, he combines the material of two previous phases with using of electric guitar. The scientific novelty. The study is within the field of actual research on a classical guitar ensemble and its contemporary repertoire. The practical significance. The materials of this article can be used as a basis for further research of guitar ensemble music. In particular, obtained results can be useful for contemporary music performers.