Russian Far East - China: Ways of Interaction in the Field of Academic Musical Culture

Abstract

The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The multi-ethnicity of the region and the special role of the dialogue of in the composer's work are noted. The culture of the aborigines and the East Slavic migratory culture of the Russian Far East is analyzed, and beyond the Russian borders - the original culture of the countries of the Asia-Pacific region. The commonality of some features of the traditional Far Eastern folklore of Russia and China is highlighted. The concept of Academic Musical Culture is considered, which includes the work of composers, successively associated with the foundations of Western European music, formed in the period of the 17th-19th centuries, musical performance, musical and performing infrastructure, educational space and academic musicology. The work highlights the main research in the areas of study of the traditional musical culture of the Far East of Russia and China, the study of the academic musical culture of the region, as well as in the field of music computer technologies (MCT). The beginning of a systematic study of the academic musical culture of the Russian Far East is associated with the formation of the Far Eastern branch of the Union of Russian Composers. The work highlights the composers of the region, the main focus of their work. The researchers of the academic musical culture of the region, whose works are a significant addition to the understanding of the processes of development of modern national musical culture, are noted. The article covers the professional compositional work of the academic orientation of China, known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers from China. The need for cultural understanding of the stated problem through academic music art, traditional music culture, music science and music education is recognized. The special role of MCT in musical culture and musical education in the Far East of Russia and China is noted, as the most important component for interaction in the field of academic music culture, the problems of informatization of contemporary musical education are emphasized. The conclusion is made about the possibility of a unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of the Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees in such a palatonal proximity the basis for the interaction of the cultures of the Far Eastern region. This aspect is recognized as important from the point of view of creating an integral multicultural space based on the principles of humanism and tolerance.