The dissertation is devoted to the study of polyphonic genres in the piano works of Chinese composers of the 20th - early 21st centuries. The relevance of the topic of the proposed study is determined by the achievements of Chinese composers in the field of polyphonic music for the piano, their creative potential for the world music community, which have not yet received systematic coverage and evaluation in the unity of national-style thinking and performance.
The purpose of the study is to determine the contribution of Chinese composers to the polyphonic genres of piano art in national-stylistic and performing dimensions.
Chapter 1 "Polyphonic space of Chinese piano art of the 20th - early 21st centuries: in search of national identity" is devoted to research methodology. In subsection 1.1. the development of polyphonic genres for piano in national composer schools of the 20th - early 21st centuries is analyzed. In order to gain a deep understanding of the genesis of polyphonic thinking in the professional compositional work of China in the 20th century and at the current stage of its development, a thorough consideration of issues related to the specificity of polyphony in Chinese folklore and traditional art as the principles of shaping musical material was involved.
In subsection 1.2. ways of formation of the theory of polyphony in Chinese music science are investigated.
In subsection 1.3. "Piano polyphonic work in the interpretive field of artistic practice" discusses issues related to a complex of pianistic tasks in the reproduction of polyphonic text.
Chapter 2 "National originality of interpretation of genre models of European polyphony in Chinese piano music" is devoted to composers for whom polyphony became one of the factors of creative style.
In subsection 2.1. the composer's experience of mastering polyphonic writing is considered: from a polyphonic piece to a fugue. The most organic exploration of the possibilities of creating counterpoint taking into account national music was carried out either in program pieces or freely composed intentions.
In subsection 2.2. "Cyclic Polyphonic Genres at the Crossroads of Classical, Modern, and National" examines musical works that reflect the highest level of mastery of polyphony by Chinese composers. The first attempts in this genre were the works of Rao Yuyan "Prelude and Fugue" (1956) and "Introduction and Fugue - Lyric" (1964), which imitates the Western European genre of polyphonic dilogy.
The cycle of 13 Preludes and Fugues by Chen Mingji (1960-2004) is based on the principle of changing different - classical, modern, tonal and atonal, Western and national pitch systems.
5 The prelude and fugue of Luo Zhongzhong (1960-1980) demonstrate the world of all pentatonic scales, thus converging the reliance on the pentatonic scale base, the free structuring of the composition in the preludes and the strictly regulated one in the two-part fugues, expanding the area of development of development in the compositions of preludes and fugues.
5 Preludes and fugues in all pentatonic scales by Wang Lishan (1982) is programmatic, which is more in line with the artistic properties of Chinese national art.
Ding Shande's 4 Preludes and Fugues (1988) is a program-type cycle where the composer created his unique pitch range, adapting the national basis to modern compositional writing techniques.
Lin Hua's polyphonic cycles are in many cases significantly enriched with major-minor and receive a new, peculiar interpretation. If in two works the composer preserves the generally accepted form of polyphonic dilogy (Prelude and Fugue in D major (1989), Passacalia and Fugue in A minor (1999)), then in the cycle Prelude, Chorale and Fugue in G major (1998) he turns to a more complex form, deepening artistic content.
The Conclusions summarize the results of the study. In the piano music of Chinese composers, fugue and other polyphonic genres and forms (inventions, program polyphonic pieces, suites in polyphonic style, small and large polyphonic cycles of program and non-program type, etc.) became widespread. The fugue is variously presented in the works of Chinese composers, both as part of a polyphonic cycle and as an independent work. This genre is the pinnacle of the development of polyphonic thinking in Chinese piano music. It was in fuze that the two main tendencies in the mastery of polyphony found their highest embodiment, namely, the active development of European traditions and the purposeful use of national folk creativity. The pinnacle of the development of polyphony became the piano cycles, which include a fugue, which not only confirms the inexhaustibility of the possibilities of this genre and form, but also proves a certain sound system, the canonical conditions of writing of a certain era.
