TRADITIONAL AND EUROPEAN IN THE CONTEXT OF THE DEVELOPMENT OF WIND INSTRUMENTS (ON THE EXAMPLE OF THE CHINESE FLUTE SCHOOL)

Abstract

The article is devoted to the analysis of the development of the academic flute, which quickly gained the status of widespread and popular in China. It is noted that flute art is characterized by a high level of performance, great artistic creativity and an effective system of learning to play the instrument. It has been proven that a characteristic feature of the educational system is the exceptionally active performing practice of flute teachers. They are characterized by repeated participation in national and international competitions, intensive work in orchestras and groups of chamber instruments, constant solo and orchestral activity, a very diverse repertoire program and intensive concert activity in Poland and abroad. The wide spread of flute music-making was reflected in the work of Chinese composers, translations, arrangements of Chinese songs and instrumental works, which is caused by the lack of a domestic repertoire at a certain stage of development. The work of Chinese flutist composers demonstrates modern compositional techniques in an original form of interaction with national tonal, rhythmic and textural systems. The variety of monuments of flute pedagogy in modern China is due to the influence of outstanding artists from various countries of Europe and the USA, extensive concert tours, master classes and training courses throughout history to the present day. The theoretical value of the work consists in presenting a comprehensive picture of the existence of the European academic flute in China and the logic of its development. The concept of interaction in flute music of national and European styles is important for the further development of the problem of stylistic pluralism in Eastern artistic cultures. The principles characterizing the birth and development of flute art in various areas of Chinese musical culture can be used to create a theoretical model for studying the life of European instruments in non-European countries. Another comparative study of this position in the characteristics of the pedagogical status in different countries of the East and the West can serve as an analysis of the active acting life of Chinese flute teachers of different generations in national dimensions and abroad. A detailed examination of the content and level of activity of concert life, master classes of famous foreign performers are promising when studying the pedagogical guidelines of non-European countries.