Nejc Kuhar

The focus of this submission is a composition portfolio, which consists of ‘12 Concert Etudes’ as the main focus, with ‘6 Intermediate Preludes’ and ‘3 Guitar Concerti’ emerging from them. The portfolio is presented with scores, video recordings, and a live final degree recital.

The purpose of this PhD composition portfolio is twofold.

Firstly, to introduce advanced guitar techniques, unique approaches to developing them, and new pedagogical concepts by writing etudes, which reflect the evolution of guitar technique as exemplified by the latest generation of virtuosi. To complement this, there are six preludes which introduce these concepts at an early stage of learning and integrate them into the pedagogical repertoire.

Secondly, to incorporate those techniques and concepts into works for guitar and orchestra, suitable for various levels of guitar technique.

To merge pedagogy with concert music, I explored concert etudes and a concerto for students with a less technically challenging guitar part.

My research process consisted of:

(1) researching existing canons, either by investigating published texts or analysing scores;

(2) researching recommended set works by HEIs and international competitions, in addition to

repertoire performed by my peers;

(3) my practitioner knowledge of exploring my own technical shortcomings and strengths, using

them to define musical and technical challenges of the ‘Etudes’ and ‘Preludes’;

(4) critical reflection on the development of the idiom of guitar and orchestra.

The findings revealed a scarcity of such material, especially often performed etudes and

easier pieces for guitar and orchestra. Those findings also helped me to contextualise my work within existing canons and provided me with a framework for my own works’ structures.

The value of my work to both scholarly and performing communities, while at the same time representing my original contribution to knowledge, are new technical innovations and educational concepts embodied in ‘12 Concert Etudes’ on one hand, and ‘Guitar Concerto No. 2’, written explicitly for the intermediate difficulty level of guitar technique with its pedagogical value, on the other.

The portfolio also contains a written commentary that provides context, analysis, and explanations of the idiomatic technical innovations.