Abstract
The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research
Highlights
The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations
The insufficient readiness of this thesis is mentioned. It is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition
The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style
Summary
The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. The current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned It is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition
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