THE TIMBRE AND INTONATIONAL SEMANTICS IN THE BRASS PARTIES AT THE SUITE «YELLOW RIVER – THE GOLDEN BEACH» BY ZHU JIA HE: EUROPEAN-CHINESE ECHOES

Abstract

The problem of European-Chinese dialogue and artistic parallels in musical culture is covered in the article. This is one of the most actively studied in the Ukrainian territory, primarily by Chinese researchers. Special attention is paid to the theoretical issues of brass orchestral culture and creativity in the context of Ukrainian-Chinese artistic parallels. The purpose of the article is to highlight the main timbre and intonation semantic models in the brass parties of «Yellow River – The Golden Beach» by Zhu Jia He and show some excitement with famous works of European music on the example of Borys Lyatoshynsky’s symphonic poem «On the Vistula’s banks». The author proposes the concept of «timbre and intonational semantics» and its model, which is substantiated and illustrated in the process of analysis. In his interpretation, the author derives from the «intonational concept» introduced by V.Moskalenko and the concept of «intonational image of the world» by Yu. Chekan. It is concluded that in the symphonic poem «On the Vistula’s banks» by B.Lyatoshynsky the timbre and intonation symphonic expressions are an important factor. Extremely important role in this process is played by brass instruments as «signs» of figurative and emotional semantics of a work related to tragic rethinking of folklore material, its timbre and intonational modulation from the original version to the modern one. The brass parties in the work of Ukrainian culture coryphaeus B. Lyatoshynsky and the Chinese Zhu Jia He are represented by the various timbre and semantic models described in the analysis process. In the symphonic suite «Yellow River – Gold Coast» by Zhu Jia He, the use of similar timbre and intonation models, as in the work of B. Lyatoshynsky, became «symbolic» semantic phenomena of world culture. The study may be of practical importance to future researchers of the processes of European-Chinese dialogue and convergence phenomena in contemporary Chinese academic music, as well as to researchers and performers of orchestral music.