Abstract
The article analyses the “Chinese Suite” № 1 by Moscow school composer Sergei Vasilenko. The composition can be interpreted within the term “exotic and romantic line” introduced by the domestic musicologist D. V. Zhitomirsky. The thesis is motivated by the fact that S. N. Vasilenko tended to stay in tune with the traditions of the Russian music of the beginning of the XX century, which were not involved into domestic avant-garde experiments but combined such features as brilliant melodiousness, phonic, tone and colour harmony, genre nature, figurativeness, inclusion of vocal and dance folklore. The suite is a clear manifestation of N. A. Rimsky-Korsakov’s traditions closely associated with the Russian music of the second half of the XX century.
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