NATIONAL VECTOR OF THE SOUND IMAGE OF THE PIANO IN THE PROGRAM MINIATURE OF CHINESE COMPOSERS OF THE OTHER HALF OF THE ХХTH CENTURY

Abstract

The purpose of the work is to reveal the national vector of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century, Chen Peixiong, Wang Jianzhong, and Sun Yiqiang. The article examines the features of the manifestation of the national vector of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century. The role of the national in the semantic filling of Chinese piano art, the coloring of the artistic thinking of composers with the national color, qualitatively different states of the manifestation of the national vector of the piano sound image in the program piano miniature, which acts as a unique form of artistic expression, which reflects the specifics of national thinking, are determined. The program miniatures of Chinese composers of the second half of the 20th century Chen Peixiong, Wang Jianzhong, Sun Yiqiang are analyzed in the context of the national vector of the piano sound image. Research methodology. To carry out a musicological analysis of the program piano miniatures of Chinese composers of the second half of the 20th century, we applied a range of analytical methods (intonational, hermeneutic, comparative, historical-stylistic, onto-sonological), which allowed us to identify the specifics of the national vector of the piano sound image at the level of the individual thinking of the indicated composers, as well as to generalize the common features of their reproduction of the national flavor in the works. The scientific novelty lies in the attempt of a comprehensive approach to highlighting the national specificity of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century. The article indicates that the national piano sound image in the program miniature of Chinese composers is formed against the background of the synthesis of traditional culture and modern compositional means of European music. It is proved that the following elements of the musical text were common to various composers of the second half of the 20th century in the embodiment of the national specificity of the piano sound image: intonation-melodic and mode structures, rhythmic-linguistic features of the presentation of the material, the variational principle of its development, texture-timbre techniques, sound-like dramaturgy. The avant-garde piano sound image in these works reflects not only the aesthetics of the timbre-sonor sound of the instrument, enriched by the compositional techniques of writing of this historical period, but also the psychoaesthetic features of the Chinese worldview.