Abstract
The paper aims to identify the specificity of Chinese composers’ interpretation of violin concerto genre in the 1940-1980s. Scientific originality of the study lies in the fact that Chinese violin concerto is for the first time analyzed in historical context. As a result, it is proved that Chinese composers adopted genre and style model of European and Russian violin concertos created at the turn of the XIX-XX centuries within the style trends of late Romanticism and neo-folklorism. The research findings are as follows: the author reveals national peculiarities of Chinese violin concerto of the 1940-1980s - collective authorship and ideological programmability.
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