The national cultural tradition in Chinese piano music of the second half of the 20th century is a potentially intriguing space for in-depth exploration, which currently holds artistic, cultural, and historical significance in the context of contemporary research in musicology and cultural studies. The main relevance of this topic lies in its ability to reveal profound and complex relationships between musical art, cultural phenomena, and social context, aimed at understanding the influence of cultural factors on the creative process and the formation of national musical identity in different countries. China has been chosen as a country with a sufficiently resilient vector for preserving national identity while critically approaching external influences, their adaptation, and assimilation.
Focusing on the analysis of works by Chinese composers in the field of piano music from the second half of the 20th century helps to uncover unique aspects of artistry that were prominent in works of this period. In particular, studying the works of composers is crucial for understanding the evolution of musical language, its connection to the cultural and historical context within the country and beyond its borders. Researching the core elements of the national cultural tradition reflected in piano works reveals the key components of musical dialogue with the history, philosophy, and art of China. This analysis unveils profound connections between piano music and the cultural heritage of the country, contributing to a deeper understanding of art within the context of cultural identity.
The dissertation focuses on identifying key aspects and mechanisms of the creative evolution of Chinese piano music within the context of historical development, which constitutes a complex task of scholarly research requiring systematic and in-depth analysis. The contemporary period, as well as the formation of musical styles and directions in China in the second half of the 20th century, undoubtedly depended on the influence of historical events, including the Opium Wars and their aftermath, which were pivotal stages in the development of the country's cultural environment.
The analysis of mechanisms of creative evolution in music reflects several factors that shaped the dynamics of its development. This includes artists' reactions to social and political changes, transformations in music education programs and teaching methods, as well as techniques and innovations in the creative process that spurred innovative approaches in creating musical works. Additionally, interaction with other musical cultures, primarily Western European, played a crucial role in shaping Chinese piano music.
Through the analysis of the works of prominent composers such as Tan Dun, Zhou Long, and Xu Xiaosun, the utilization of traditional Chinese elements in contemporary art is examined in line with the transformations of national traditions and philosophical perspectives. This includes the incorporation of components such as ritualism and ceremonialism (Tan Dun), religious-philosophical views (Zhou Long), and Buddhist concepts and the philosophy of Laozi (Xu Xiaosun).
Elements of the avant-garde are examined through Tianzi Wang's composition «Liana», and the integration and assimilation of sonoristic techniques are confirmed through an analysis of the first part of Ifei Zhao's «Toccata». The features of Chinese musical aesthetics are identified from the perspective of piano culture development. Concepts such as Zhonghe (中和) – «central harmony» and Yinrou (陰柔) – «feminine softness» are explored. Traditional Chinese musical modes are analyzed in terms of their aesthetic significance within the framework of national tradition formation.
This includes three types of heptatonic modes, which evolved from the pentatonic scale: Yayue (used for ritual music and music education, genres such as Kunqu Opera, Peking Opera), Qingyue (originating from folk tradition and popular in northwest China), and Yanyue (with roots in traditional Indian or Arabic music, heavily influencing Xinjiang folk songs and used in festive music across all social classes). In the piano music culture of China, two main aspects of tradition are distinguished. The first aspect arises from instrumental music, while the second is formed based on China's song culture.
The specificity of the pentatonic scale, which serves as the basis for many traditional Chinese melodies, also plays a significant role in shaping the musical identity of different regions. Such a deep analysis of various aspects of China's musical culture allows for a better understanding of its components and the internal connections between them.
