CHINESE CHORAL ART OF THE "CULTURAL REVOLUTION": PERIOD OF CRISIS OR MODERNIZATION?

Abstract

The purpose of the article is to find out the peculiarities of the functioning of Chinese choral art during the «cultural revolution», to reveal the achievements of Chinese choral music of the specified period and to determine their influence on the further development of choral creativity. The methodological basis. Historical-comparative, intonation-stylistic, structural-systemic methods are used in the article to objectively characterize the choral art of China in the 1960s and 1970s. Methods of comparative and musicological analysis were used to establish the genre-stylistic features of Chinese choral works of the «cultural revolution» period. Scientific novelty of the article consists in establishing the peculiarities of the development of choral art in China during the «cultural revolution» period. Musicological analysis is used to determine the genre system and stylistic features of musical forms and vocabulary of choral compositions of this period. Conclusions. Choral art in China during the «cultural revolution» had a controversial character. The basis of creative activity was the expression of the revolutionary mood of the time. Most of the choral compositions are samples of «red music» that glorified the greatness of China, its Kermanich and government, «socialist» way of life, etc. But even under such conditions, this era became a time of introducing innovations and transforming the national musical heritage on a new level. The assimilation of European musical experience and compositional techniques took place along with the involvement of ancient melodies from the provinces of China, which were arranged for the choir (often with soloists and accompanied by a symphony orchestra). Innovations and achievements of the choral work during the "cultural revolution" prove that this period was not only negative and dead-end, but also had positive trends.