THE IMPACT OF THE NATIONAL PAINTING AND POETRY PROGRAM ON THE PIANO MUSIC OF CHINESE COMPOSERS

Abstract

The national unique intonation is especially organically synthesized with the work it expresses and it will be differently decoded by a European and a representative of the Chinese cultural tradition. This is a very important prerequisite for the correct under-standing of the content of music works of various genres composed outside of the European cultural continuum. This very understanding pertains to the image and sense load of their interaction with the word, ritual and symbolism of the timbral sound and other elements of the integral artistic image, as well as the intonation complex itself underlying the music work. This fact was noticed by ancient Chinese philosopher Confucius, who considered: the order and harmony in a people’s music to be the most effective means for maintaining the order in society and for the best spiritual and intellectual upbringing of people. To determine the state of a country and its level of development, Confucius listened to the Chinese ceremonial music. Through it, he grasped the harmony of world construction himself, and considered music edu-cation to be the most important state task. In this respect, we can formulate the following hypothesis: the guidelines of artistic content that arise on the basis of adaptation of essentially European elements of music culture in the widest spectrum of notions that were integrated in Chinese music life around a hundred years ago, in Chinese national music will most certainly reflect unique mental signs, as well as unique con-cepts that do not always overlap with the European ones, even if verbal or other concepts that are key to this or that sound artefact seem to be similar. The above hypothesis can be exemplified with such a self-evident “crossing point” of two dis-tant cultural traditions as program instrumental music. The general psychological basis for perception of program music in different civilizations is the natural desire to find an adequate objective and notional range for music intonation, texture juxtaposition, rhythmic complexes and other musical expressive means, as well as an opportunity to outline the sphere of specific emotions, feelings and associations, and contrast music images with verbal (or occasionally visual ones that are after all also transformed into the verbal plane) notions and images.