HUANG ZI’S CONTRIBUTION TO THE FORMATION OF THE CHINESE ROMANCE

Abstract

The modern space of academic vocal art is characterized by a significant blurring of national differences in the international discourse. At the same time, Chinese academic vocal art largely retains its originality and is characterized by eclectic borrowings of Western musical and compositional traditions, which has been going on for over a century. The musicological study of the founders of modern academic vocal art in China is one of the most relevant areas of scientific research. The article examines the contribution of figure of the teacher, conductor, composer, scientist Huang Tzu and focuses attention on the romantic work of an outstanding Chinese artist of modern times, who laid the foundations of Chinese romance; the education, life and creative path of Huang Zi is briefly characterized and the place of romances in it is determined. The article also contains an analysis of the romances “Flowers Are Not Flowers” (words by the Tang poet Bo Jui), “Three Desires of a Rose” (words by Long Muhong), “Spring Reflections” (words in the style of “new poetry” by Wei Hanzhang). The article also examines the specifics of the vocal-performance interpretation of Huang Zi’s romances, which is determined both by the features of the musical fabric of these works and the Putonghua language in which the poems for them are written. It is concluded that the synthesis of various musical traditions and national cultures in the vocal work of Huang Zi led to the creation of unique romances, which throughout almost the entire 20th century (with the exception of the 10-year period of the “cultural revolution”) maintained their popularity in China, but also gained international recognition and new round of popularity at the break of 20th and 21st centuries. Huang Zi’s romances are diverse both in terms of compositional structure and poetic basis, so the composer is rightfully considered the founder of Chinese romance.