The dissertation is devoted to summarizing the achievements of Chinese piano performance - a phenomenon whose hundred years of existence have demonstrated to the whole world the high level of skill of its representatives. Despite the fact that piano art in China began its journey several centuries later compared to Europe and the USA, in a relatively short period of time it received world recognition, as evidenced by numerous victories of Chinese pianists at international competitions, sensational discoveries of new names at a very young age , their successful concert activity, high rating due to their amazing virtuoso skill.
However, a selective research interest in this phenomenon can be traced in scientific sources: most authors tried to cover a small segment of the path of piano art in China, to concentrate on a specific personality of a pianist-performer, a separate aspect of piano education in China, some conservatories and the personalities of outstanding teachers. There is a need to generalize and forecast the further development of piano art and education in the country.
The purpose of the study is to summarize the historical experience of the development of piano performance in China, which led to its recognition in the world.
Scientific novelty of the obtained results. For the first time in musicology:
– the historical experience of the development of piano performing art in China is summarized;
– ways of professionalizing piano performance in China were analyzed;
– an assessment of the development of the system of piano pedagogy based on the example of the activities of the most significant higher educational institutions and the network of music schools in China is given;
– the executive activity of its brightest representatives of different historical periods is considered;
– a pianistic typology is proposed based on the analysis of creativity of various personalities of leading Chinese pianists;
– audiography with recordings of prominent Chinese pianists of different generations was put into scientific circulation (Appendix A);
– the most significant achievements of the Chinese piano school are determined;
– the state of modern piano culture in China is analyzed, its development trends and prospects are characterized.
The structure of the thesis is three-part. In Chapter 1 “Piano Art of China in Historiographical Discourse” it is noted that the process of formation of Chinese pianistic professionalism as a subject of scientific knowledge took a secondary place in the research field, yielding to broader, cultural topics related to the general history of the development of musical art and composer creativity in China.
Chapter 2 explores “Pathways to the Professionalization of Piano Performance in China”. It is noted that the key to the rapid development and flourishing of piano performance in China was the process of its professionalization, which led to very brilliant results.
Chapter 3 “Dynamics of the Development of Chinese Piano Performance in Personal Manifestations” examines the performing activities of the most outstanding Chinese pianists - representatives of different generations. The facts of creativity, individual manifestations of performing style, traditions acquired through education, the nature of concert-tour activity and participation in competitions, repertoire preferences, ability to teach, etc. are considered.
The results of the study are presented in the Conclusions. Based on observations and consideration of many documents and materials, the process of development of Chinese piano performance can be conditionally divided into two major stages, the watershed of which is the ten-year period of the "cultural revolution".
The first stage - the formation of piano performance in China (1904 - 1966 years) becomes the initial period of time for the establishment of performance practice in China. The Chinese piano school was formed under the influence of the concert and teaching activities of European pianists who received their education in higher educational institutions and private studios of prominent European musicians.
The second stage - the Chinese "pianistic renaissance" (from 1977 to the present day) is determined by the tendency of recovery and further development of Chinese piano performance art (since the late 1970s) and its rapid rise (since the 1990s), which was defined as “piano boom”. The key to the rapid development and flourishing of piano performance in China was the process of its professionalization, which led to very brilliant results.
Based on the study of the performing activities of outstanding representatives of Chinese piano performance, the following pianistic typology is proposed in the work: classical type; lyrical-poetic type; romantic-expressive type; emotional-intellectual type; virtuoso-exalted type; virtuoso-entertaining type.
