Stylistic Peculiarities of the Chamber Ensemble in Chinese Composers’ Creative Heritage
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Abstract
Based on studying the twentieth century Chinese composers most representative works, written in the genre of chamber and instrumental ensemble, the article examines the main musical and expressive means reflecting the specifics of the European genre interpretation on the national stage. It is shown that the vector of the chamber ensemble stylistic system determines the interaction of Eastern and Western elements. The author examines such significant aspects of musical writing as thematic (thematicism and its development methods), mode-harmonic and textured, metro-rhythmic, timbre-sonorous. The original nature of the thematism is due to the wide range of interaction between the author's and folklore material, covering the treatment of traditional themes, stylization, and the preservation of individual national expressions in the authorʼs thematicism. A special attitude to sound is noted from the perspective of Chinese. The specificity of compositional solutions in the field of harmony is due to the melodic nature of Chinese frets, that complements the European major-minor with non-lead and compound chords, as well as chord parallelism. The timbre-sonority originality is formed due to the imitation of the Chinese instruments sound by using European chamber ensemble instruments, a specific manner of performance and ornamentation.
The intensive creative search of Chinese composers, carried out in line with the interaction of Eastern and Western traditions thus allowed them to create a corpus of unique works in the classical European genre, ensuring not only its high status in the morphological system of Chinese music of the XXI century, but also increased the interest in it from the world music community.
Keywords: Chinese chamber and instrumental ensemble, Chinese contemporary music, genre, style, thematism, instrumentation.
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