Освітня та концертно-виконавська діяльність сучасних музикантів-віолончелістів Китайської Народної Республіки

Abstract

Research objective. The article under consideration reveals the historical and cultural preconditions of the genesis and development specifics of Chinese contemporary music art at its contemporary stage. It was clarified that the process of music and historical disclosure of the performing artistry is predetermined by many factors, among which special significance refers to People’s Republic of China’s (PRC) integration in the world artistic domain; the interchange of European – East music and performing cultural traditions; the enrichment of PRC’s arts education theory and practice with the best innovations and foreign experts’ advanced methodological background; reformations of the national system of general and specialised music education, particularly within the field of prospective violoncellists’ academic occupational training. In the context of the aforementioned issues, there appears a significance of distinguishing the specifics of the Chinese professional violoncellists’ educational, concerto and performing activity, as well as the importance of their creative input for the contemporary solo and orchestra instrumental performance evolvement in China. The methodology of the research is based on the system-analytical, comparative and history-cultural method. It was determined that in China, cello player’s initial training is implemented within the framework of school or private practical activity. Profiled music education, both secondary and higher, is obtained by prospective professionals at music colleges, music faculties of classical universities, conservatoires, music academies, as well as foreign professional music and pedagogical education institutions. Violoncello performance popularisation in China is contributed via world orchestra instrumental art evolvement, the growing amount of chamber and orchestra groups; due to arranging and conducting international music performance contests, perfecting the science and theory basis alongside with cello playing teaching methodology, etc. The scientific novelty – the following issues were accomplished: the science interpretation of biographical data, personal artistic development, specifics and individual characteristics of the practical implementation of some Chinese prominent violoncellists’ (Yo-Yo Ma, Wang Jun, Tao Ni, Kang Qiaojuan and others) concerto and performing, pedagogical, organisational and other activities. An endeavour of revealing the individual and distinctive characteristics of their personal and artistic imagebearing outlook, the specific and unique features of their original performing style/manner, the focus of music interests and inclinations, was implemented. Conclusions. The Chinese contemporary violoncellists’ role and personal contribution to the evolvement of both national and world instrumental and performing culture alongside with perfecting academic music education were also distinguished.