Stylistic aspects of adaptation the national tradition in instrumental piano music of contemporary Chinese composers Cover Image

Stylistic aspects of adaptation the national tradition in instrumental piano music of contemporary Chinese composers

Author(s): Bing Fang
Subject(s): Customs / Folklore, Music, Ethics / Practical Philosophy, Cultural Anthropology / Ethnology
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: Chinese folk; instrumental tradition; piano; voice; tone simulation; the sound image

Summary/Abstract: The article deals with the interaction of Chinese folk music with the practice of Chinese composers of the twentieth century. The issues of implementation of China's traditional musical culture in piano music. Identifies principles of adaptation isntrumental specifics of Chinese music to the expressive possibilities of the piano and performing.The purpose of the article – to identify specific guidelines adaptation of folk music of China in terms of piano expressiveness in the works of modern Chinese composers.Universal technological and expressive possibilities of the piano became urgent for Chinese composers of the twentieth century, who in their work relied on the traditions of their national musical culture. Musical tradition of China is significantly different from the classical European. In their works, Chinese composers inherited tonal and rhythmic specificity of Chinese folk music, the characteristical sound of the voices of Chinese folk instruments and playing techniques to them. In their piano works, they were on the way to adapt "native" musical material to the expressive possibilities of a "foreign" tool. This synthesis is largely determined the national character and style specifics of Chinese piano music.The consequence of this composer's method was to the fore such forms of piano music as arrangement and transcription of songs and instrumental samples of Chinese folk music.Chinese composers of the twentieth century in their piano works based on folk traditions of their musical culture, and this is reflected in the melodic, harmonic, intonation, rhytmical and sonoric level of their works.An example of the refractive index of the creative adaptation of national folklore and expressive potential of the piano to the specific timbre of Chinese folk instruments is to play Lee Inhaj "Chinese flute and the drum at dusk." This work is a vivid imprint in a piano sound dialogue between the two instruments – the Chinese flute and drum. Sound image of colorful instrumental timbres embodied in the specific decision textured, dynamic, rhytmic and articulation piano expressiveness.Among the stylistic features of the works of Lee Inhaj note the following: a thematic link with the national culture; reliance on Chinese folk songs as tonal and thematic basis of a musical work; adaptation to the piano texture and tonal variety of performance techniques of Chinese instrumental tradition; leading role in the principle of individual creative breaking of national musical traditions.