PECULIARITIES OF THE CONCERT GENRE FOR TRADITIONAL WIND AND PERCUSSION INSTRUMENTS WITH THE SYMPHONY ORCHESTRA OF THE END OF THE XX – THE EARLY XXI CENTURY

Abstract

The article provides a comprehensive analysis of the development of the concert genre for traditional Chinese wind instruments in the period after the start of economic reforms and the implementation of the policy of openness in China at the end of the 20th century. The socio-cultural transformations of this time led to significant changes in the worldview, aesthetic preferences and artistic thinking of artists, which directly affected musical creativity. Particular attention is paid to the phenomenon of the second wave of foreign education of Chinese composers, who, after receiving education in European countries, returned to their homeland with new professional knowledge, compositional techniques and an expanded understanding of the genre and style possibilities of modern music. The activity of representatives of the so-called “fifth generation” of Chinese composers, who became the initiators of the active renewal of the national instrumental tradition, is analyzed. Their work is marked by the desire to combine authentic intonational sources, the timbre specificity of traditional wind instruments and the principles of modern European compositional thinking. As a result of this synthesis, a significant number of large-scale solo concerts appeared, which contributed to the establishment of a new stage in the development of Chinese instrumental music, focused on the concert form as the leading genre format. The study also emphasizes the important role of performers in the process of genre evolution. The active position of soloists, their interest in creating a new repertoire and improving the forms of stage embodiment contributed to the intensification of cooperation with composers. The innovative approach involved not only writing new works, but also searching for modern formats for presenting traditional instruments in various orchestral practices. Two main trends in the development of the concert genre of this period have been identified: first, the creation of concerts for traditional wind instruments accompanied by a Chinese folk orchestra; second, the integration of these instruments into the structure of the European symphony orchestra. This trend testifies to the desire for intercultural dialogue, the expansion of the timbre palette, and the formation of a new model of interaction between national tradition and global musical processes. It is concluded that the intensification of composer and performing activities in the specified period contributed to the deep modernization of the concert genre, the rethinking of the role of traditional wind instruments in the modern artistic space and their establishment as full-fledged participants in academic concert life. The outlined processes indicate the formation of a new artistic paradigm that combines tradition, innovation and intercultural interaction