The Piano Compositions of Chinese Composer Li Yinghai
Article Sidebar
Main Article Content
Abstract
This article contains an overview of the legacy of piano works by Chinese composer Li Yinghai. The peculiarities of the style and the characteristic features of the musical language of the piano compositions are examined. Special attention is given to the principal specificity of Li Yinghai’s piano music, which consists in the fact that the composer blends in his music the characteristics of the musical traditions of the East and the West. Li Yinghai adopts compositional techniques of traditional folk melodicism of his country, combining it with the Western modal-scalar structure and with the instrumental features of the piano. It is important that the compositions written by him do not lose the specific features of the national style of the Chinese music. As a result, Li Yinghai’s compositions have received broad recognition in his native country. In addition, application of modern techniques of Eastern music made the composer’s works understood and recognized in Europe as well. Thereby, the composer’s piano works have become popular both in the China and in other countries. In view of this, this article gives a argumentative analysis of Li Yinghai’s musical compositions, which demonstrate a successful blend of two musical cultures.
Keywords: the musical culture of China, the piano music of China, Chinese traditional music, the modes of Chinese music, Li Yinghai.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Van In. Pretvorenie natsional'nykh traditsiy v fortepiannoy muzyke kitayskikh kompozitorov ХХ–ХХІ vekov: dis. ... kand. iskusstvovedeniya [The Implementation of National Traditions in Chinese Music of 20th and 21st Century Composers: Dissertation for the Degree of Candidate of Arts]. St. Petersburg, 2008. 216 p. (In Russian).
3. Gayday P. V. Rol' traditsionnoy muzykal'noy kul'tury v razvitii fortepiannogo iskusstva Kitaya [The Role of Traditional Musical Culture in the Development of the Art of Piano Playing in China]. Izvestiya Volgogradskogo gosudarstvennogo pedagogicheskogo universiteta [Volgograd State Pedagogical University News]. 2014. No. 3 (88), pp. 61–64.
4. Lupinos S. B. Etnosotsial'nye protsessy i muzykal'naya kul'tura drevnosti: Kitay, Koreya, Yaponiya [The Ethno-Social Processes and the Music Culture of Ancient Cultures: China, Korea, Japan]. Izvestiya Vostochnogo instituta Dal'nevostochnogo gosudarstvennogo universiteta [Bulletin of Oriental Institute of the Far Eastern State University]. 1995. No. 2, pp. 76–80.
5. Pen Ch. Ladovaya sistema kitayskoy muzyki i ee pretvorenie v tvorchestve kompozitorov XX veka: avtoref. dis. … kand. iskusstvovedeniya [Pehn Ch. The Tonal System of Chinese Music and its Realization in the Music o f 20th Century Composers: Thesis of Dissertation for the Degree of Candidate of Arts]. Nizhny Novgorod, 2011. 23 p.
6. Wang Wenli. Zhong guo gang qin qu de min zu hua ji fa jian xi. Beijing: Zhong guo yin yue. 2004 (3). 78–80 ye. (In Chinese) [Wang Wenli. A Brief Analysis of Performances of Chinese Piano Works with the Use of National Techniques. Beijing: China’s Music. 2004. No. 3, pp.78–80].
7. Wang Yuhe. Guan yu Zhong guo gan qin yin yue yi shu zai Zhong guo de fa zhan. Beijing: Ren min yin yue chu ban she. 2003. 101 ye (In Chinese) [Wang Yuhe. The Development of the Art of Piano Music in China. Beijing: People’s Publishing House, 2003. 101 p.].
8. Guo Hechu. Li Yinghai “Yi Gong bian zou qu” de du te xing yi ji qi chuang zuo shou fa fen xi . Wu Xan: Wu Xan yin yue xue yuan xue bao. 2002 (4). 37–39 ye (In Chinese) [Guo Hechu. Li Yinghai, Variations on a Theme “The Change of Palaces” – Analysis of the Work’s Originality and Compositional Technique. Wuhan: Wuhan’s Conservatory’s Bulletin. 2002. No. 4, pp. 37–39].
9. Li Yinghai. Ji cheng yu qiu suo – Zhong guo min zu yin yue wen ji. Shang Hai: Shang Hai yin yue chu ban she. 2004. 56 ye (In Chinese) [Li Yinghai. Continuance and Research – Collected Edition of Chinese Traditional Music. Shang hai: Shanghai Publishing House, 2004. 56 p.].
10. Li Yinghai. Zhong guo min ge gang qin xiao qu 50 shou. Shang hai: Shang hai yin yue chu ban she 1994. 31 ye (In Chinese) [Li Yinghai. 50 Chinese National Piano Pieces. Shanghai: Shanghai Musical Publishing House, 1994. 31 p.].
11. Li Yinghai. Wu sheng yin diao gang qin zhi fa lian xi. Beijing: Ren min yin yue chu ban she. 2002. 88 ye (In Chinese) [Li Yinghai. Pentatonic Fingering Practice on the Piano. Beijing: People’s publ., 2002. 88 p.].
12. Pan Yanna. Ban yan – Zhong guo chuan tong yin yue de jie pai jie zou fang shi. Shan Xi: Yin yue tian di. 2008 (3). 80–83 ye (In Chinese) [Pan Yanna. The Initial and the Final Beats of the Bar – Rhythmical Patterns of Chinese Traditional Music. Shanxi: Musical Sphere. 2008. No. 3, pp. 80–83].
13. Fan Zuyin. Yin yue yu ren – Zhong guo xian dang dai yan jiu wen ji. Shanghai: Shanghai yin yue chu ban she. 2004. 66 ye (In Chinese) [Fan Zuyin. Music and the Human Being: Collected Edition of Modern Music. Shanghai: Shanghai Publishing House, 2004. 66 p.].
14. Zhou Weimin. Zhong guo gang qin qu de chuang zuo fa zhan yu yan zou te zheng. Guang zhou: Xing hai yin yue xue yuan xue bao. 2007 (5). 43–47 ye (In Chinese) [Zhou Weimin. Creative Evolution and Special Features of Performance of Chinese Piano Works. Guangzhou: Xinghai Conservatory’s Bulletin. 2007. No. 5, pp. 43–47].
15. Shen Nianci. Qian lun Zhong xi yin yue zhi bi jiao yan jiu. Shang hai: Shang hai yi shu jia. 1995 (4). 113–116 ye (In Chinese) [Shen Nianci. A Comparative Analysis of Western and Chinese Music. Shanghai: The Shanghai Art Worker. 1995. No. 4, pp. 113–116].