Abstract
The article describes the characteristic features of the piano work by the modern Chinese composer Sang Tong “Seven Pieces on the Themes of the Mongolian Folk Songs”. The analysis is performed in the aspect of the correlation of the Sino-Mongolian musical folklore with the composition techniques of the Western European musical art. The specificity of the implementation of the Chinese folk music in a piano composition is considered. The author notes that in this work, for the first time in the history of the Chinese piano music, the composer combines folklore with dissonant chords, modern mode-tonal systems and a new composition technique.
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