NATIONAL FEATURES AND STYLISTIC DOMINANTS OF CHAMBER PIANO MUSIC OF CHINA

Abstract

The purpose of the article is to identify and generalize the marks of national features and stylistic dominants of Chinese chamber piano music. In the process of research, the leading feature of all instrumental works of Chinese composers was revealed to be its programmability in the sense of its constant connection with specific plots, images, pictures of rituals and nature. Examples of the embodiment of programmatic nature in a wide variety of forms are given – from small-scale pieces to multi-part cyclic forms (suites, variations, a specific genre of Chinese music – cycles of musical pictures) to a piano concerto. It was found that the development of a tendency towards programmability was conditioned by the entire course of development of Chinese instrumental music and was associated with the specifics of the national mentality. The characteristic features of the musical language of chamber piano works by Chinese composers were systematized and generalized, in which the synthesis of the features of national features, the generalization of the most important conceptual spheres for Chinese music in them, the application of coloristic sound-imaging techniques of impressionism and Western composer techniques, in particular pointillism, dodecaphony, and techniques of tonal expansion were confirmed.
Research methods. The research methods chosen are musicological, analytical, descriptive, source-based and axiological approaches.
The results consist in the affirmation of national tendencies towards programmability and vivid imagery of all chamber instrumental music by Chinese composers, in the tendency to embody the most important concepts of Chinese music in their work, and in the systematization of the used achievements of the musical language of Western composers, which has always occurred in the priority of national stylistics.
The scientific novelty of the study lies in the systematic argumentation of the principle of programmability in the chamber piano works of Chinese composers.
Practical significance lies in the possibility of applying the materials and conclusions of the article in composing and performing practice.