Розвиток саксофонного мистецтва Китаю у вимірах міжкультурного діалогу

Кунь, Ло

dc.contributor.author	Кунь, Ло
dc.date.accessioned	2020-10-19T10:31:55Z
dc.date.available	2020-10-19T10:31:55Z
dc.date.issued	2017
dc.identifier.citation	Ло Кунь. Розвиток саксофонного мистецтва Китаю у вимірах міжкультурного діалогу : дис. на здоб. наук. ступеня канд. мистецтвознавства : 26.00.01 «Теорія та історія культури» / Л.Кунь ; М-во культури України. ЛНМА ім. М.В. Лисенка. НАКККіМ.– Київ, 2019. – 229 с.	uk_UA
dc.identifier.uri	http://elib.nakkkim.edu.ua/handle/123456789/2221
dc.description	The thesis is devoted to the complex study of the saxophone art of China of the 20th – early 21st century through the prism of an intercultural dialogue factor. A holistic panorama of the formation and development of Chinese saxophone art of the period under review is created. The conceptual field of the dialogue of cultures in various spheres of humanitarian knowledge is studied, value guidelines and prospects of the interaction of Chinese culture within the framework of cultural unification are presented. The process of historical development of the art of wind instruments is considered in the context of the penetration of the saxophone into the musical culture of China. The causes of the late (after the Republic of China was formed in 1912) penetration of the saxophone into Chinese musical art and the possibility of its active adoption only after the termination of the reign of the imperial dynasties, their struggle against the penetration of free thinking from the outside, the closure of China as a result of the conservative foreign policy, denying European values and focusing exclusively on the development of national traditions, are revealed. In order to draw analogies in the historical and chronological aspects, the evolution of the saxophone use in the works of Western European, Ukrainian and Russian composers of the late 19th and early 21st centuries is studied, the degree of their repertoire popularity in China is determined, the aspects of cooperation are examined. It was determined that the origin of the professional development of saxophone playing and the growth of the saxophone repertoire in China are associated with the beginning of the activities of the Department of Wind Instruments of the Central Peking and Sichuan Conservatoires, whose clarinet teachers were the first to initiate the "conversion" to saxophone playing. For this purpose, the brightest of them went abroad in order to acquire saxophone education in America and Europe. As a result, the classes of professional playing the saxophone were opened in these conservatoires for the first time in China in 1998 and 2000; besides, "Experimental Centers" aimed at organizing music festivals, contests, lectures and master classes of world-famous saxophonists from Paris, Yale, London, Brussels, Vienna, Tokyo, Melbourne, Toronto, Pittsburgh, Kyiv and Moscow were founded. The analysis has been made, the results have been summarized and the role of the performing, teaching, research and lectorial activities of the most important ones – Paul Brodie, Claude Delangle, James Houliсk, Migele Nalakeiva, Federico Mindelci, Carlos Aguilera, Yuriy Vasyilevych, Margarita Shaposhnikova, Sergey Kolesov – has been determined . Their combined activities helped to open classes of professional saxophone playing in conservatoires of China, to increase the flow of talented musicians wishing to acquire a profound education abroad, to expand the performance repertoire with individual interpretations, to put the scientific activity of Chinese saxophonists into the international orbit and to spread the repertoire of Chinese composers in the world. The achievements of Chinese students who had mastered the skill in the conservatoires of Ukraine, Europe and America in the classes of P. Brodie, C. Delangle, Y. Vasylevych are studied. In this respect, the growing problem of the outflow of the best young saxophonists from China at the present stage is considered (for example, most activities of Gao Xin and Du Enn Thyao take place outside of China). The analysis of the statistic results of the last two decades indicates a significant outflow, but it has been shown that at present this phenomenon is not yet a threat for China with its population up to 1.5 billion inhabitants. The structural and functional analysis of saxophone art of China, carried out in the areas of performance, composer creativity, music and professional school of the beginning of the 21st century, has shown rapid development of the wind instruments art in China and its transformation into the category of one of the most significant phenomena in the contemporary music world. This is proved by examples of multifaceted activities and outstanding creative achievements of the most outstanding representatives of modern saxophone art of China. For this purpose, examples of the activities of Lie Manyulloon, Li Yusheng, Yang Xia Sian, Du Enn Thyao, Gao Xin, Limen Yung, Huan An Lun, whose creative work has been distinguished with the highest awards and recognized throughout the world, are studied and systematized. The repertoire of Chinese composers of the early 21st century is classified in three areas: academic, modernistic and variety. The analysis of genre and style parameters of works for the saxophone of the Chinese composers of the beginning of the 21st century proves the assertion of the tendency of synergy of national traditions and modern composers’ techniques in their works.	uk_UA
dc.description.abstract	Дисертація присвячена комплексному дослідженню саксофонного мистецтва Китаю ХХ – початку ХХІ ст. крізь призму міжкультурнодіалогічного фактора. Створено цілісну панораму становлення й розвитку саксофонного мистецтва Китаю окресленого періоду. Досліджено концептуальне поле діалогу культур у різних сферах гуманітарного знання, виявлено ціннісні орієнтири і перспективи взаємодії китайської культури в рамках культурної уніфікації. Розглянуто процес історичного розвитку мистецтва духових інструментів в контексті проникнення в музичну культуру Китаю саксофону. З метою проведення аналогій розглянуто еволюцію застосування саксофону у творчості західноєвропейських, українських та російських композиторів кінця ХІХ – початку ХХІ ст., визначено ступінь поширення в Китаї їх репертуару. Досліджено аспекти виконавської, педагогічної і науково-лекційної діяльності у Китаї П. Броді, К. Делангля, Дж. Хоуліка, Ю. Василевича. Проведено структурно-функціональний аналіз саксофонного мистецтва Китаю за напрямками: виконавство, композиторська творчість, науково-методичне забезпечення початку ХХІ ст. Відзначено тяжіння до роботи з національним музичним матеріалом і тенденцію до асоціативного наближення звучання саксофону до китайських національних духових інструментів. Розглянуто специфічні особливості музичної мови найбільш показових творів китайських композиторів. У дисертації саксофонне мистецтво Китаю представлене як самобутнє і органічне явище в історії світового саксофонного виконавства та композиторської творчості.	uk_UA
dc.language.iso	uk_UA	uk_UA
dc.publisher	Національна академія керівних кадрів культури і мистецтв	uk_UA
dc.subject	діалог культур, саксофонне мистецтво Китаю, виконавство, репертуар, композиторська творчість, національна музична мова	uk_UA
dc.title	Розвиток саксофонного мистецтва Китаю у вимірах міжкультурного діалогу	uk_UA
dc.title.alternative	The Development of the Saxophone Art of China in Terms of Intercultural Dialogue	uk_UA
dc.type	Other	uk_UA