THE MUSICAL LANGUAGE OF LIU HANLI'S CONCERTO «TSZIN’ LINGSI – REFLECTIONS ON THE CITY» FOR ORCHESTRA OF FOLK INSTRUMENTS AND YANGQIN”

Abstract

The purpose of the work is to explore the features of the musical language of the famous modern Chinese
composer and at the same time a virtuoso performer on Chinese dulcimer – Yangqing – Liu Hanli.
To determine the stylistic features of the artist's language in general, and in particular in the concerto «Tszin’
Lingsi – Reflections on a City» for orchestra of folk instruments and Yangqin.
To demonstrate how a fairly clear plot programming is realized in the work. To demonstrate the compositional
logic and style of the work through detailed analysis of structural, tonal and musical expressive features.
The methodological basis of the work is determined by the structure and artistic specificity of the object and includes:
musical and stylistic approach and comprehensive musicological and structural analysis of the musical material itself.
The scientific novelty of the work is determined by the fact that it is the first time the concerto «Tszin’ Lingsi –
Reflections on a City» for Folk Instruments Orchestra and Yangqin by the famous contemporary Chinese composer,
virtuoso performer on Chinese dulcimer – Yangqin – Liu Hanli is considered and analysed. The expressive means,
architectonics, dramaturgy and relevance to the programme are analysed in detail.
Conclusions. In Liu Hanli's Concerto «Tszin’ Lingsi – Reflections on a City» – for Folk Instruments Orchestra
and Yangqing, the composer conveyed the spirit of the ancient people through the depiction of life scenes, highlighting
their kindness, courage, diligence and strength of spirit in the struggle for survival.
The artist implements the elaborate and clear subject programme rather abstractly, although several clear
soundscapes can be found throughout the work. Throughout the work, there is a subtle link between the intonation
image and the phenomenon depicted in the programme word.
On the palatal tonal level, the piece is interesting in its use of pentatonic scale, Doric and Aeolian. The nonperiodic
alternation of sizes not only during individual constructions, but even during a single thematic element, adds a
folk flavour to the piece.
Professor Liu Hanli, the leader of the Northeast Yanqing, demonstrates in this work an interesting and
convincing synthesis of the European musical language and the national folk basis. Here he combines the expressive
means of the major-minor system with transformed examples of folk songwriting.
The prospects for further research lie in the study of the characteristics of the musical language of Chinese
composers in works of different genres for Yangqin – solo, ensemble and orchestral.