FACTORS OF THE CREATION OF THE VIOLIN ART IN CHINESE CULTURE

Abstract

The purpose of the article is to investigate the early evidence of the violin’s entry into the cultural space of China and the first wave of touring performances by eminent Western violinists on the path to developing the professionalization of violin art. The methodology of the research is based on a complex combination of historical, musicological, sourse, chronological and boigraphical methods. The scientific novelty lies in to collect the earliest evidence of the penetration and forms of violin in China; relying on periodicals, memoirs of contemporaries and the systema-tization of facts made public by Chinese musicologists – in creating panoramas of touring performances by professional in the early twentieth century. Conclusions. Based on the analysis of biographical materials of Chinese emperors of the XVII century the earliest evidence of the importation by the western missionaries of China of the violin and the first forms of acquaintance of the imperial court with European musical works were found. During the elaboration of various sources, a panorama of touring performances at the beginning of the twentieth century was formed in China, the best Western performers: from periodicals set about concerts by M. Erdenko, M. Elman, M. Piastro; from the memoirs of contemporaries – O. Mogilewski, J. Menukhin, I. Heifetz, E. Tsymbalisty, the Katain brothers; from scientific works – R. Hart, F. Chreisler, P. Zuckerman, Y. Fisher, I. Perlman.It is summarized that attending concert events by the widest circles of the Chinese audience promoted acquaintance with the best works og the world violin music, the possibility of their different performing interpretations, enhancement of aesthetic tastes and aspiration of the Chinese violinists to the professional level of their own violin playing. In summarized that attending concert events by the widest circles of the Chinese audience pro-moted acquaintance with the best works of the world violin music, the possibility of their different performing interpretations, enhancement of aesthetic tastes and aspiration of the Chinese violi-nists to improve the professional level of their own violin playing. The relevance of the proposed materials is to expand knowledge of the first stages of professional violin art formation in China.