ПОЛЬСЬКО-КИТАЙСЬКІ КУЛЬТУРНІ ВЗАЄМИНИ В КОНТЕКСТІ ДОСЛІДЖЕННЯ ФОРТЕПІАННОГО МИСТЕЦТВА КИТАЮ
POLISH-CHINESE CULTURAL RELATIONS IN THE CONTEXT OF CHINA'S PIANO ART RESEARCH

Summary/Abstract: The purpose of the research is the musicological reconstruction of Chinese-Polish cultural relations as a special component of the development of Chinese piano art specifics. Research methodology. The source research method was applied in order to study Chinese and Western European musicological literature; the musicological method was used for the analysis of the most significant musical phenomena in the context of Polish-Chinese relations in terms of their influence on the improvement of piano performance; the synergistic method was applied when considering the piano art of China, which functions in connection with Western constant components; the axiological one was employed, which makes it possible to reveal the value references and prospects of Chinese piano performance within the framework of creative unification. Scientific novelty. The modern level of China’s piano art projects the need for a historical and theoretical comprehension of its general trends, in the development of which special importance is given to China's intercultural dialogue with the outside world. In this context, an analysis of Chinese-Polish relations, which were significant for the formation and development of Chinese piano performance, was carried out. The main vectors of this dialogue, which proved to be important for Chinese pianists to realise the specifics of the performance of the music of F. Chopin, the most popular Western European romantic in China, were analysed: the most significant concert performances of the leading Polish pianists in China, their master classes and expert lectures, winning performances of Chinese pianists at international competitions named after Chopin in the world. Conclusions. The study of Chinese-Polish musical relations were found to be important for understanding the ways of performing approaches of Chinese pianists to Chopin's work. It is proved that these relations formed a fundamental basis for the professionalisation of Chinese piano performance. The importance of return meetings of Chinese pianists with students of music educational institutions of Poland is noted from the point of view of experience exchange. The outlined trends of the principles of Western piano art integration into Chinese culture are characterised as centripetal, as well as a centrifugal movement, when Chinese pianists demonstrated a high professional level of performance, participating in a large number of concert performances and master classes in the West.

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