Ru
EnWang Pei
Western traditions of flute performance art in the history of China
The article considers the history of development of western academic flute performance art in a musical culture of China. The author touches upon the initial stages when the flute was introduced to the court of Chinese emperors of the 17–18th centuries and the first western-style orchestras appeared. The early stages of involvement of modern flute of the late 19th and early 20th centuries in the first Chinese military orchestra of Yuan Shikai and shanghai brass band of Jean Rémusat are highlighted.
The article presents some information about the higher education institutions of the early period of Republic of China, which have opened flute courses that are still existing and relevant. The critical period of Cultural Revolution and development of China flute pedagogy after 1980s are characterised. The attention is paid to the work of foreign musicians and teachers of the second half of the 20th century, particularly the visit of Jean-Pierre Rampal to Peking that orientated Chinese flutists towards new principles and techniques of flute performance. Major change in the methodology of pedagogy of flute performance among Chinese students was brought by Czech flutist Arnošt Bourek, whose work is extensively described in the article. His requests conformably to exercises that were aimed at building coordination between the logical melody development and the stability and strengths of a sound, were new to Chinese performers who separated the work on breathing techniques and a melody.
To highlight the success of Chinese performers the author provides examples of the brightest victories of flutists on the most prestigious music festivals and competitions in China and other counties, such as Europe and USA competitions laureates Han Zhongqze, Li Xuequan, Zhang Zhihua, Ma Yong, Chen Sanqing, Qingta.
Key words
European flute, academic flute art in China, Chinese flutists, flute performance style.
For citation
Wang Pei. Western traditions of flute performance art in the history of China // South-Russian Musical Anthology. 2021. No. 4. Pp. 151–158.
