Abstract
The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.
Highlights
In the course of the 20th century, efforts have been made in China to increase the level of performing skills on wind instruments, to identify learning problems and improve the modern education system, integrating the experience of leading countries in the development of musical art
The material of the study was leading aesthetic attitudes and methodological principles of Fan Lay, published in works devoted to his work; interview materials with the musician and his teacher Tao Chunxiao; information presented in the modern scientific literature of China articles, dissertation research, monographs; materials about the music of modern Chinese composers located on video and audio platforms and other Internet resources
The main trends in the development of clarinet performance in China were formed taking into account historical, ethnocultural factors and folk traditions. Their essence is the initial adaptation of the musical ear and the performing apparatus of Chinese musicians to the structural features and sounds of Western European woodwind instruments and, in particular, the clarinet
Summary
In the course of the 20th century, efforts have been made in China to increase the level of performing skills on wind instruments, to identify learning problems and improve the modern education system, integrating the experience of leading countries in the development of musical art. Fan Lei is one of the most active teachers who has synthesized in practice various techniques for teaching clarinet playing These include the methods that he mastered while studying with a professor at the Central Conservatory in Beijing, Tao Chunxiao, China's first world-famous clarinet player, as well as methods developed in Europe and America. Fan Lei (born 1965), a well-known Chinese clarinet player and teacher, graduated from the Oberlin Conservatory of Music, the oldest music educational institution in Oberlin, Ohio, USA, and graduated from Yale with a diploma and master's degree in art He represented China at the international clarinet competition in Toulon, France, where he won an honorary award. Copland Orchestra, together with the Taipei Symphony Orchestra under the direction of A
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