The Making of Woodwind Art in China

Yang Liu; Svetlana Anatolievna Mozgot

doi:10.34069/AI/2020.27.03.33

Yang Liu School of Arts and Media at Suqian College of P.R. China, Post-graduate Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia. https://orcid.org/0000-0003-1063-2637
Svetlana Anatolievna Mozgot Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia. https://orcid.org/0000-0002-5342-6940

DOI: https://doi.org/10.34069/AI/2020.27.03.33

Keywords: performing art of playing woodwind instruments in China, composer work, formation periods, genres of music for clarinet, music education system, training and concert repertoire, requirements and evaluation criteria, performing skills.

Abstract

The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.

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Author Biographies

Yang Liu, School of Arts and Media at Suqian College of P.R. China, Post-graduate Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia.

Lecturer of School of Arts and Media at Suqian College of P.R. China, Post-graduate student of Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia.

Svetlana Anatolievna Mozgot, Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia.

Doctor of Arts, Professor of Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia.

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