Типологічні особливості обробок, аранжувань і транскрипцій у фортепіанній творчості китайських композиторів ХХ – початку ХХІ століття

Янь, Чжихао

Типологічні особливості обробок, аранжувань і транскрипцій у фортепіанній творчості китайських композиторів ХХ – початку ХХІ століття

Янь, Чжихао

URI: http://elib.nakkkim.edu.ua/handle/123456789/2402

Date: 2018

Abstract:

Дисертацію присвячено дослідженню фортепіанних обробок, аранжувань і транскрипцій у творчості композиторів Китаю ХХ – початку ХХІ ст. у процесі становлення типологічних особливостей. Мета дослідження – виявити і систематизувати типологічні особливості фортепіанних обробок, аранжувань і транскрипцій у творчості композиторів Китаю. Усвідомлення китайської фортепіанної творчості як цілісного феномену неможливе без вивчення зазначеної складової, що обумовлює актуальність обраної теми дослідження. Музичним матеріалом для дослідження є видання фортепіанних обробок, аранжувань і транскрипцій китайських композиторів, а також народних мелодій, що увійшли до переліку десяти найбільших музичних скарбів нації. Матеріали дослідження можуть бути використаними для здійснення подальших наукових досліджень з питань фортепіанних обробок, аранжувань і транскрипцій, в курсах з історії фортепіанного мистецтва та світової музичної культури.

Description:

Piano art is an integral part of Chinese culture and presents a late branch of world music traditions. Its formation began in the early 20th century with the establishment of the Republic of China (1912). The development of Chinese composers’ creative works would be impossible without an active comprehension of the achievements of the West and is a reflection of the trends of this interaction. In the vast multi-genre piano heritage of Chinese composers from the very beginning of its formation, special attention is paid to creating compositions in the field of arrangements, treatments and transcriptions. The study of folklore samples was one of the most widely represented branches of the piano composer's heritage. The true phenomenon of Chinese civilization, folk song and instrumental creativity, which reflects the everyday life of people, their thoughts, customs, rituals, history of the country, sang the heroic feats of the past and the poetics of the beauty of natural landscapes, served as a source of inspiration for composers for the search for those musical works and ways the embodiment of images and plots in creative practice. 18 The purpose of the paper is to systematize the basic principles of piano treatments, arrangements and transcriptions in the works of Chinese composers. For this purpose, a combination of general scientific methods of philosophy, culturology, history, musicology is used as a methodological basis in the study: the dynamics of cultural and historical processes of the development of Chinese musical art is analyzed, the genre-style analysis is used in the aspect of development trends, and systematization of piano treatments, arrangements and transcriptions. In the first chapter a brief excursion into the history of the formation of piano art in China was made. The analysis of the main works of Chinese researchers makes it possible to conclude about their focusing on the factors of revealing deep aesthetic parallels with western music in creative works of Chinese composers, on the processes of their individual writing and style formation in the interaction of oriental and western musical traditions, in the determining of similarity features as a factor of the world culture globalization. A huge layer of Chinese folk music was observed, which existed before the appearance of academic composing works. The main areas of Chinese folk art are shown – mythology, rituality, appeal to the images of nature, which became the main concepts of the concepts, in particular, piano arrangements, arrangements and transcriptions. The second chapter is devoted to the analysis of piano arrangements and arrangements of folk songs. An appeal to the work of folk songs is considered as the dominant tendency of creativity, which manifested itself in the ways of diversifying the transmission of their figurative content and execution; comprehension of the expressive capabilities of the piano, the rapid introduction of it into the cultural space of China; in increasing the popularization of national art in China and the world. The classification of folk songs made possible to reveal and summarize the development of typical form-making and stylistic parameters. Typical thematic areas include landscape sketches, genre and everyday scenes, enhanced attention to heroic-patriotic and historical themes in combination of poetics and symbolism of nature images with pictures of ancient and contemporary historical events. While preserving the connection with national artistic traditions, a constant desire for their combination with modern modern trends has been observed. The most noticeable influence of the aesthetics of romanticism and impressionism is determined. In the arrangement of songs of the beginning of the 21st century significant modernization of elements of the musical language, application of innovative methods and experimentation was observed. The third chapter deals with the analysis of instrumental music. The methods of ancient fixation of musical texts - hieroglyphic, jiantsi, honchep and digital notations are characterized, the problem of necessity of acceleration of their decoding is noted, examples of author's readings are shown. The themes of arrangements and transcriptions of instrumental melodies are presented in aspects: dance melodies related to ritual sphere, dance melodies from ballet numbers of traditional operas, sketches of paintings of nature and the historical past. For the first time, as a material for transcription work, instrumental melodies from works characteristic of only Chinese culture – exemplary revolutionary performances and theatrical translations of the pintans – have been worked out. As the leading method of composer's practice, the imitation of the piano's semantics of the sound of national instruments was emphasized, which facilitated the perception of his favorite melodies, the "nationalization" of the European piano, the attraction to the richness of his expressiveness, the reproduction of national performing traditions of instrumental music and the faster adaptation of the piano to the continuum of instrumental culture in China. Arranging and transcribing instrumental melodies greatly enriched Chinese piano music with highly artistic works and facilitated the process of integrating national and western musical traditions.

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