EXAMPLES OF TRAINING WITH FOREIGN SPECIALISTS AT AN EARLY STAGE OF PROFESSIONALIZATION OF CHINESE VIOLIN ART

Abstract

In the article studies and systematizes examples of teaching Chinese violinists to foreign specialists at the first stage of professionalization of Chinese violin art. To achieve this goal, the facts of training Chinese violinists abroad or foreign specialists who were in China at the time were collected. The first steps of Chinese violinists’ adoption of the experience and traditions of highly professional European violin art in the fields of performance, pedagogy, playing methods and violin composition have been traced. The materials for the research were articles by Chinese musicologists and historians, publications in the press of the early twentieth century, and autobiographical memoirs of Chinese students who were among the first to be educated in the West. Special attention is paid to the study of the figure of engineer and violinist Sytu Meng Yan, who became the first national violinist to give a solo concert in China, and the first national Chinese master in the field of violin making. In the process of studying the outlined topic, it was discovered that the first of the talented Chinese violinists studied in Japan (Tokyo Imperial University) and with Western specialists: the Englishman Robert Hart, the Czech I. Koenig, the Dutchman Heist, the American W. Goss. It was found that the period at the turn of the XIX-XX centuries became the turning point when the traditions of highly professional European violin art in the fields of performance, violin composition and pedagogy began to be intensively assimilated in China for the first time. It is concluded that this period was important as the first stage of acquaintance of China violinists with the pedagogical system and methods of Western specialists, which contributed to the organization of the first music schools in China with the opening of a violin class and the creation of national composers first violin compositions The study may be of practical importance for future researchers of Chinas’ dialogue with the West, as well as for researchers of Chinese violin art in the possibility of using its materials in further explorations of Chinese violin art.