Репозитарій Національної академії керівних кадрів культури і мистецтв України
Типологічні особливості обробок, аранжувань і транскрипцій у фортепіанній творчості китайських композиторів ХХ – початку ХХІ століття
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Типологічні особливості обробок, аранжувань і транскрипцій у фортепіанній творчості китайських композиторів ХХ – початку ХХІ століття
Янь, Чжихао
Дата:
2018
Короткий опис(реферат):
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.
Суть розробки, основні результати:
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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