Eastern Romanticism and Its Transformations in Chinese Piano Performance
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Abstract
The article presents an analysis of the stylistic processes that
have determined the paths of development in present-day piano
performance in China with a set of basic tendencies of the world
culture of piano playing. The main stylistic platform of the
Chinese art of piano performance is determined by the author
as Eastern romanticism, which is characterized by a principled
optimism and a harmoniousness of world-perception, as well as
special attention towards ornamentality and sensual pleasure in
details. The firmness of the given stylistic platform is stipulated
both by the correspondence to the basic national traditions and
by the impact of worldwide social and cultural tendencies. At the
same time, in the performances of the leading present-day Chinese
musicians one can observe its transformations, the character
of which is primarily determined by the impact of factors of
the Western artistic culture. Among the latter the following
are most conspicuous: the acceleration of impact of forms of
artistic thought inherent in Western mass culture, an intensive
development of the manner of performance genetically connected
with salon virtuosic music-making, as well as an intensification
of commonality with a number of aesthetic attitudes of European
modernism.
Keywords: musical culture of China, piano performance
in China, mass culture, modern, romanticism, salon style of
perdormance, piano
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