FOLK TRADITIONS IN THE CONTEXT OF THE HISTORY OF THE DEVELOPMENT OF CHINESE INSTRUMENTAL MUSIC

Abstract

The article describes folk traditions in the context of the development of Chinese instrumental music. The periods of development of Chinese musical culture, as well as the peculiarities of the formation of European-type concert performances in China at the beginning of the 20th century, are determined. An excursion into the history of the development of cultural and musical life is carried out on the basis of available historical data, a general concept of the sources of musical life in China in the period of the 20th century is proposed. It is noted that the musical culture of China is a historical and cultural phenomenon, the specificity of which is determined by a number of factors: the centuries-old history of Chinese culture, with its unique combination of music of oral and written traditions in palace and folk-professional versions; the closure of the classical Chinese ceremonial from external influences, its “self-creation”, which led to the formation of special institutions of the internal concert life of the imperial court and its surroundings; implantation of elements of European musical culture, including the principles and institutions of concert life, on Chinese soil – a “transplantation” that was successfully carried out due to the high internal potential of Chinese civilization. The work systematizes events and facts in the history of Chinese musical culture of the 20th century, which is divided into five stages, each of which corresponds to a certain period of the country's political history. They differ in their specificity, highlighting one or another aspect of the established value system, which synthesizes European and national features. Initially, educational institutions (conservatories, institutes, schools) and orchestral groups, which are later joined by soloists-instrumentalists, choirs, and soloistsvocalists, become the basis for the new Chinese art. The system of training professional musicians borrowed from China turned out to be quite effective, its first fruits date back to the 1950s. But the real concert boom began at the end of the 1970s, when, having survived the horror of the “cultural revolution”, China slowly moved towards the world cultural society. In addition to concert organizations and theaters, the country has developed and is actively developing a system of living musical art, the components of which combine all types of modern musical culture.