FORMATION IN THE «SMALL» 9SONATAS OF CHINESE COMPOSERS IN THE EARLY PERIODS OF THE GENRE DEVELOPMENT(ON THE EXAMPLE OF THE SONATA FOR PIANO BY YANG LIXIN)

Abstract

The purpose of the article is searching for of haracteristic signs of musical form Vn the «small» sonatas of the China composers that showed up during development of genre of sonata as such from appearance of him the first standards to the decline of this sort of works after 1966.
Research methodology. The paper uses combined historical, analytical, comparative research methods.
Results. Analysis of the musical form of Yang Liqin's Sonata indicates that this work has an original three-part form, in which the first part is a sonata allegro, the second is built on the principle of three-part, the third is in the form of a rondo, where one of the episodes is presented in the form of a theme with three «variations». A characteristic feature is the three-part structure at the heart of each part of the work. This is evidence of the composer's adherence to the rule of «tripleness», which has historically been established in the Chinese musical tradition. In Yang Liqin's Sonata, reprise, development and serial three-parts are clearly manifested. Evidence of adherence to the European tradition is the composer's use of the principle of development, which alternately repeats the melody, free imitation with the transposition of the melody to a fourth or fifth, etc.
These and other features of form formation were also manifested in the Sonatas of this type by other composers. For example, Sonatina No.6 by Guo Zurong, which also presents a three-part form-making concept, where the first (fast) part embodies the form of a sonata allegro, the second (slow) 3 a simple three-part form, and the third (fast again) 3 a rondo form. The latter is similar to the rondo in Sonata No.4 by Jiang Wenye «Carnival Day», because it also closes the three-part composition. In addition, the rondo of all the named Sonatas has a noticeable homogeneous thematism and a clearly expressed, almost contrasting, texturedynamic dissimilarity between the refrain and episodes. This is explained by the genre-stylistic peculiarity of the thematic nature of all those rondos, namely the dominance of a dance nature with a noticeable preservation of song intonations. Thus, during the heyday of the genre in China, samples spread that in their form demonstrated deviations from the types of musical construction established in the European tradition. The growing composer's skill and original musical thinking contributed to the emergence of interesting form-forming concepts, which, at the same time, have common features in a separate form «small» piano sonatas.
Novelty. The scientific novelty of the proposed work lies in the fact that it is the first attempt to conduct a formal analysis
of one, separately taken, type of piano sonatas to identify characteristic features of the organization of their musical material.
The practical significance. The materials of the article can be used in studies of musical forms in Chinese sonatas of later periods, and in general, of the piano works of Chinese composers.