FEATURES OF PROGRAM TITLES OF CHINESE DUETES FOR PIANO AND TRADITIONAL INSTRUMENTS

Abstract

The question of the embodiment of program music in different duets for piano and traditional instruments of modern Chinese composers is considered. It was found that chamber and instrumental music is an essential and important part of Chinese musical creativity, which is emphasized by the history of the traditions of ensemble playing the national instruments. It is noted that the combination of traditional timbres in Chinese music testifies to the horizontal interaction of two civilizational strata – European and Chinese musical cultures. It is determined that almost all duets of Chinese composers are endowed with program titles, which are directly subordinated to the musical events of the pieces. The main trends in the interpretation of the concept of program music in modern Western music theory – the work of J. Hepokoski and R. Scruton. In accordance with them, a number of chamber and instrumental works of Chinese composers were analyzed. It was found that the most significant for Chinese instrumental duos with the participation of piano is a psychological and imitative (or representative) type of program; descriptive type is less common. The role of programmability in such works as part of the mental code of the Chinese nation is determined and the importance of interpretive style in the transmission of the program name is outlined.