GENRE-STYLE CHARACTERISTICS OF «FOLK SONGS FOR ORCHESTRA» BY HUANG RUO

Abstract

The aim of article is to analyze «Folk songs for orchestra» by Huang Ruo from the point of view of the specifics of their genre and style profile and the principles of processing the folklore primary source.
Research methodology is based on the combination of the following methods: historical-typological (which made it possible to determine the place «Folk songs for orchestra» in the musical culture), structural-analytical (which made it possible to identify the peculiarities of the form), genre-stylistic (which helped to determine the peculiarities of the genre profile and stylistic features) and comparative (thanks to which it was possible to compare «Folk songs for orchestra» with similar opus of other composers).
The scientific novelty of the article consists in involvement of the instrumental music by Huang Ruo, who is still unknown to Ukrainian musicology, although he has significant weight in Western musical culture.
Conclusions. The article focuses on the orchestral music of Chinese composers of the beginning of the 21 st century, which is defined such as the insufficiently studied field of contemporary musical art. It is paid attention to the music of the young Chinese composer Huang Ruo, who was educated and works in the United States. The peculiarity of
his music is determined by the combination of the principles of academic Western stylistics and traditional Chinese folklore. «Folk Songs for Orchestra» demonstrates the features of the composer's usage of folk chants in orchestral pieces.

The complexity of the genre profile of the music is determined, which, within the framework of a four-part cycle, combines features of orchestral arrangement and folklore composition. Peculiarities of such genres as «folkloric processing», «ballad», «folk song for orchestra» are studied and the peculiarities of their implementation in composer practice are studied. Definitions like symphony and ballad, given to «Folk Songs for Orchestra» by Western musicologists and the composer himself are commented. It is suggested to be understood by additional genre features of the cycle. The peculiarities of parts of the cycle are analyzed from the point of view of the combination of features of Chinese folk music making and the principles of academic music of the Western model.