SAXOPHONE WORKS OF CHINESE COMPOSERS IN THE CONTEXT OF NATIONAL TRADITIONS AND EXTERNAL INFLUENCES

Abstract

The article proposes a consideration of the saxophone works of Chinese composers, the formation and development of which took place under the influence of national traditions (wide use of themes of popular folklore and authors’ melodies, imitation of the sound of timbres of national instruments by means of the saxophone), the stylistics of Western music (irregular metrics, experimentation with the alteration of pentatonic scale steps, the use of dodecaphony and pointillism techniques, etc.) and socio-cultural phenomena (synergy of intercultural communication between Chinese and Western musicians, fascination with the art of jazz, the influx of Western solo and ensemble performers into China, gradual feminization of Chinese saxophone art). The purpose of the article is to prove the achievements of Chinese composers; works for the saxophone in the context of its national significance for the development of academic wind art in China, as well as the high recognition of the works of Chinese composers and their inclusion in the treasury of the worlds composer and performing continuum. The factors of the rapid entry of the saxophone into the Chinese musical space are supported, the specifics of the features of the creation of musical compositions by Chinese composers are summarized, their systematization according to genre features and methods of performance is carried out. In the sense of the gender specificity of Chinese saxophone art, the first examples of Chinese women’s performing (Xie Li Yan and Fan Xiaoning) and composing (Chen Yi) are singled out. The stylistic features of Chen Yi first works for the saxophone are summarized, which consist in the desire to imitate the sounds of nature and the effects of the sound of archaic national musical instruments by technical and timbral means of the saxophone, in applying modern techniques. The scientific novelty lies in the first in Ukrainian musicology generalization of the significance of Chinese saxophone compositional work in modern academic musical culture, in the identification of vitaistic parallels between Chinese and Ukrainian instrumental compositional work. The analysis of solo works for saxophone, as well as ensemble and orchestral works with its involvement allowed us to conclude about their significance in the development of national saxophone art.