The study of piano composer-performer creativity of China is the subject of great attention of Chinese and world researchers. The significant achievements of Chinese musicians over the past 100 years or more – the historical period since the piano art of China entered the phase of academic professionalization–focus the attention of art historians on the study of the creative heritage of its brightest representatives, the typological features of the genre basis of pianomusic, the integration of European traditions into the piano school of China, the formation and development of the national piano school, gender specifics, etc. Recently, the direction associated with the study of piano art within the geographical boundaries of individual regions of China has become widespread in scientific thought. This is evidenced by the trend of increasing art historical and cultural research works on the study of piano culture and education in Beijing, Shanghai, Harbin, andS ichuan. Int he panoramic picture of Chinese piano works, the study of the pianoart of the provinces of Southern China has remained out of focus to this day, despite the very significant achievements after the end of the Cultural Revolution, when from the beginning of the 1980s, the composers' creativity of the representatives of the south began its rapid development, manifesting itself in the fullness of its imagery content and stylistic features. The subject is also due to personal interest, caused by admiration for the skill of composers from the author's native province, Guizhou, and a significant number of performances in concerts of piano works by Guizhou authors and those from other provinces of Southern China.
Taking into account the perfection, high appreciation and growing popularity of solo chamber piano works by contemporary composers from the southern provinces not only in the artistic space of the whole of China, but alsofar beyond its borders, it seems appropriate to conduct a separate comprehensive study devoted to the consideration of figurative-thematic and stylistic vectors. The study of the selected issues is concentrated on the examples of composers from the southern provinces of Guizhou, Jiangxi, Chongqing, Yunnan, Hunan and Guangxi-ZhuangDistrict. The aim of the work is to reveal the imagery and stylistic features of solo chamber piano works by composers from Southern China. The object of the study is the piano art of Southern China in the late 20th - early 21st centuries. The subject of the study is the solo chamber piano works of composers fromthe southern provincesin the context of imagery-thematic content and stylistic paradigm.
