The dissertation contains a genre-stylisctic paradigm of creativity for the flute of Chinese composers of the 20th-21st centuries. The purpose of the research is the formation of the genre-stylistic system of Chinese flute art of the 20th-21st centuries. The research material – the compositions for the flute by composers of Europe, Ukraine and China. The methodology is based on the principles of analytical interpretology.
The positions of scientific novelty of the obtained results: the system of concepts of modern flute science in the aspect of analytical interpretology has been presented (such as "sonorous image", "timbre image", "timbre symbol", "poetics", "composing strategy"); we have updated the concept of "contonation" in the context of Chinese flute art; the concept of pastoralism in musical art has been developed and enriched with its own definitions; a stable and mobile pastoral complex in compositions for the flute of the 20th-21st centuries has been determined; the compositions that have not yet become the object of scientific research are introduced into scientific circulation; a comprehensive analysis of the sonata genre for the flute and piano in Jing Ta's creative work has been provided through the positions of the author's performing-composing style and the formulation of a new paradigm of flute music of the 21st century.
The study consists of two sections. The genre-stylistic system of Chinese flute music is explicated in Section 2, each of its subsections is devoted to a separate issue: the role of the flute in symphonic scores (2.1), the identification of semantic types in the compositions for the solo flute and the flute with the piano (2.2); compositions of concerto type (2.3), sonata (2.4), ensemble compositions (2.5), concerto (2.6).
The Conclusions summarize the following:
1. The tradition of creativity for the flute in Chinese musical art can be conventionally divided into two directions – making music on varieties of the Chinese flute and on the instrument of the Western model. The tradition of playing the Chinese flute is fundamental, it laid the foundations of the semantics and perception of the instrument in Chinese culture and became the basis of the Chinese idio-ethnic strategy.
2. Two main periods of fairly fruitful interpenetration of Chinese and European flute music making traditions can be identified: the 1930s of the 20th century, and the period from 1976. It is during these years that the genre-stylistic paradigm of compositions for the flute by Chinese composers was formed. Thus, the main genre is the miniature (for the solo flute and with other instruments, such as the piano, cello, etc.) and suites of miniatures, intermediate genres (poems, capriccios), concertos (the authors are composers of Chinese origin who live in other countries), sonatas (there are only two), many ensemble compositions, where the flute is colourfully presented in combinations with various instruments; the genre of transcriptions (in particular, from the Chinese flute – judi, dizi; from the piano, gujen, etc.). The semantic and sound-image system of compositions for the flute of Chinese composers at the time of 2024 contains such manifestations as pastoralism, mythology (ritualism), landscape quality, religiosity (ritualism), contemplativeness (meditativeness).
3. It is indicated that in the compositions by Chinese composers (both original and transcriptions) the flute mostly associated with the theme of nature, images of mountains, rivers, and the sun. In the European tradition, pastoralism permeates almost all genres (except the flute concerto) – miniatures, sonata, concert piece, suite; in the Chinese one – mostly miniatures (solo flute, with the piano, in ensemble, transcriptions, arrangement of solo singing). In the European tradition, mono-timbre quality is indicated, in Chinese – poly-timbre quality (many allusions to timbres of Chinese flute varieties – ju di, hulusi, xui, yue, etc.).
4.The pastoral sound image of the flute in the creative work of European and Chinese composers has been generalized, stable and mobile components of the pastoral sonorous image of the instrument have been determined.
The acoustic level in both cases remains quite stable, as does the complex system of intonemes (intonation thesaurus). The stable complex includes intonations-crosstalk, sound assimilations, fast passages of different directions, a large number of ornaments, the predominant meter (4/4, 6/8), tonality (modes), etc.
The compositional and dramaturgical level is the mobile zone of the pastoral complex. Finally, the extra-musical level can also be attributed to the mobile zone of the pastoral complex. In Chinese musical culture, the influence of other types of art is more tangible and often concrete, which affects the performing reproduction of pastoral semantics. The flute is a timbre symbol of China, which is central to the structure of the national flute performing style.
