CHU WANGHUA’S BARCAROLLE: GENRE TRANSFORMATION AT THE CROSSROADS OF CULTURES

Abstract

The fundamental principles of the barcarolle genre are briefly outlined. It is noted that the genre, of European origin, gradually gained popularity across diverse musical cultures due to its vivid imagery, rhythmic distinctiveness, and capacity to convey a lyrical mood. Musically, the barcarolle is based on a steady metrorhythmic pulse and melodic lines that imitate the undulating motion of waves, serving as a means of expressing dreaminess, calm, or emotional depth. The barcarolle functions as a universal mode of emotional expression, capable of adapting to various cultural contexts.This study aims to trace the transformation of the barcarolle genre within the framework of cultural synthesis, using the work of Qu Xiaosong (Chu Wanghua) as a case study. The analysis focuses on the expressive means employed in the composition and the specific integration of European traditions with national intonational characteristics.The research methodology combines interdisciplinary, comparative, and analytical approaches. The primary methods used include historical-cultural analysis, comparative-stylistic analysis, and musicological examination. This methodological foundation allows for a comprehensive exploration of the barcarolle as a phenomenon that unites European origins with national musical identity.Scientific Novelty. For the first time, a comprehensive analysis of Chu Wanghua’s barcarolle is undertaken, revealing the genre’s transformation at the intersection of Eastern and Western traditions.Conclusions. It is established that Chu Wanghua’s barcarolle exemplifies a subtle cultural synthesis in which the European genre form is transformed under the influence of Chinese musical tradition. The piece is distinguished by its pentatonic modality, wave-like tempo-rhythmic flow, and multilayered texture, which together create a contemplative, philosophical atmosphere. The symbolism of water, romantic-impressionistic features, and national lyricism are intertwined with arpeggio and arpeggiated figures, generating an illusion of space and movement.In 20th-century Chinese music, and in Chu Wanghua’s barcarolle in particular, the genre acquires a fundamentally new quality. Departing from the classical 6/8 meter in favor of 4/4, the composer employs triplets to reproduce an internal pulse that maintains the swaying effect. This choice is driven not only by stylistic modernization but also by the profound philosophical significance of the water motif in Chinese culture.