The dissertation is devoted to the genre principles of Chinese piano music in its connection with performance style. Composer's honoring of the national musical language in piano works largely determined the complex of genre-typological features, which significantly affects the choice of means of its performance. Let us emphasize that connections with folklore, traditional instrumental music, theater art are presented quite widely in piano works: at the level of genre-stylistic, melodic-rhythmic, lado-harmonic and performance means. Therefore, it is important to consider how a performer of Chinese works can embody the national-mental features of musical creativity on the piano. However, today it is possible to state the insufficiency of works on the performance issues of piano works in the works of Chinese composers, which complicates their understanding and full implementation on the concert stage.
The purpose of the study is to substantiate the relationship between genre and performance stylistics in the piano music of Chinese composers in the light of the national-mental features of their work.
The material of the research is the piano works of Chinese composers of different generations: Li Yinghai, Ding Shande, Wang Jiangzhong, Wang Lisan, Liu-Sheng Ye, Jiang Zuxin, Huang Hubei, Luo Zhongzhong, Zhou Guangren, Tan Dun, Chen Shuai.
Dissertation methods – historical-typological, genre-stylistic, structural-functional, interpretological, systemic in aggregate reveal the purpose and task of the research.
Scientific novelty of the obtained results. For the first time in the study:
– the relationship between genre and performance stylistics in the piano music of Chinese composers is substantiated through the identification of national-mental features of the artistic perception of the world, the uniqueness of musical genres and language, and the traditions of Chinese musical art as a whole;
– the specifics of genre stylistics in works for piano, which combine historically established national and European models of genre tradition, have been revealed;
– the peculiarities of performance analysis aimed at the genre specificity of the work are revealed;
– a universal mechanism of piano interpretation of the works of Chinese composers was discovered, which functions in all the variety of author's styles;
– the regularities of implementation of performance stylistics of works of different national-mental nature are established.
The formation of performance style took place throughout the entire period of development of piano art in China. A key role in this process was played by the activities of luminaries – Chinese musicians Ding Shande, Wang Lisan, Wang Jianzhong, Zhou Guangren, Ying Chengzong, Huang Hubei, who demonstrated the universality of musical creativity.
The pianism of Chinese luminaries was based on general European playing skills, but was adapted to the national-mental features of Chinese music. This gave rise to specific performance tasks, regarding the implementation of the sound flexibility of instrumental melos on the piano, reproduction of timbres of ancient instruments.
The study of Chinese piano music made it possible to distinguish two groups of genres based on the degree of interaction of Eastern and Western cultural traditions. This synthesis takes place at all levels of existence of piano music: from content-semantic, genre to actually compositional, musical-linguistic and performing. Genres of Chinese piano music, in which national elements of folk art preserve the genre style and structure that characterize national thinking, are defined as nationally specific genre models. Genres that have preserved the classical foundations of the structure of European thinking are defined as European genre models. If the first group of genres is characterized by the adaptation of European pianistic skills to create “adequate” stylistics, then in the second, nationally specific means of expression are adapted to the “laws” of the European genre.
Nationally specific genres of Chinese piano music are distinguished by their uniqueness not only due to the pentatonic basis of the pitch organization of the melody and musical texture, but also due to the peculiarities of the temporal organization of san-ban music – a special form of temporal embodiment of a musical idea and a purely individual manner of the musician’s performance art, which characteristic of various types of traditional Chinese music and modern composer's creativity.
A group of Chinese piano works based on European genre models preserved their permanent semantic and communicative features; which in many ways contradicted the national ideas and mental foundations of Chinese musical art.
