FOLK INSTRUMENTAL PERFORMANCE OF CHINA

Abstract

The article is devoted to the study of the varieties of Chinese folk instruments and the peculiarities of playing them. The desire to preserve the originality of the national culture (especially in times of globalization) is one of the main features in the mentality of the Chinese people. The Chinese’s respect for traditions and customs, history and art are also manifested in a favorable attitude towards national instruments, as well as familiarization of the younger generation with the peculiarities of playing various types of folk instruments. Therefore, Chinese folk-instrumental art today constitutes a significant layer of the artistic activity of mankind, which can be traced back to BC. Understanding the basics of the traditional national instrument of China, its performance aspects, as well as some issues of Chinese culture determines the relevance of the materials of this study. The article highlights the issue of the origin and classification of typical Chinese folk instruments and provides an analysis of the typology of national instruments in relation to the system of bain and other, later classifications accepted in modern art history. The author provides an overview of the toolset of the Han as the main nation, and also briefly reveals the aspects of regional varieties of toolset of national minorities. The work traces the chronology of the formation of traditional Chinese instruments and presents its classification according to the method of sound production and manufacturing materials. Characterizing folk instrumental art, we specify that the majority of national instruments with a centuries-old history are still used in modern performance in both domestic and professional settings. Thus, the Chinese Han people use more than three hundred types of national musical instruments, and in the cultural practice of China’s minorities there are two hundred types of musical instruments. Thus, it is possible to testify to the significant demand for folk instruments in China and the high level of development of traditional musical culture. Based on the research principles of Ukrainian folklorists-Chinese scholars presented in domestic art history, as well as taking into account the scientific and cultural assets of the Ukrainian Association of Chinese scholars, the publication presents the author’s thoughts on understanding the traditional foundations of the identity of the ethnic diversity of Chinese folk-instrumental performance.