CHINESE PIANO MUSIC: MODE FEATURES

Abstract

The problem of Chinese piano performance formation is considered, which is caused by the need to apply integration processes of world musical art, associated with the specifics of the implementation of European genre traditions in Chinese piano music. The technique of citation, which consisted in transferring a folk melody to the musical text of a piece, was widely used in piano works. It is emphasized that the modal basis of the pentatonic scale conveys a unique folk flavor. The most common methods of interaction between the harmony of the national melody and classical European harmony are substantiated. The treatise “Guanji” is characterized from the point of view of considering the degrees of the pentatonic scale. The pentatonic scale is highlighted in the context of its verbal and semantic meaning, as well as color and astral associations, which ensures the reflection of specific natural sounds of each of the degrees. It is concluded that the pentatonic scale was formed in close connection with the development of the semantic and intonational features of the Chinese language. Existential dimensions of worldview allow us to note that against the background of European culture, the connections between melos and language in China, the innate intonational sensitivity of the Chinese, their ability to “feel” and “reproduce” almost imperceptible intonational fluctuations become obvious.It is determined that Western music is gradually occupying an important place in Chinese musical and cultural life. Attention is focused on the specific features of mode in the process of Chinese piano music formation. It is noted that piano works attract the attention of artists and listeners not only in China, but also abroad. It is substantiated that the integration processes ensure compliance with the norms of using the performing experience of the West by Chinese pianists, taking into account certain features of presenting the semantic sphere of the musical text. It is found out that a powerful breakthrough in the development of scientific musicological thought is important for demonstrating a significant contribution to the development of the problems of modern piano art in China. Promising directions for studying mode features in the field of other genres of instrumental, chamber-vocal, symphonic, theatrical activities are predicted.