Chinese traditional wind instruments in the context of European academic genres: composers Yang Qing and Zhu Shizhui
The article analyzes the principles of composing modern Chinese large-scale wind works under the influence of Western academic music. The article is devoted to the genre of concerto for traditional Chinese wind instruments with symphony orchestras, the focus is on the issues of compositional structure and performance technique of works. Biographies of composers and performers, compositional technique in works, thematic material and orchestration are considered. The author comes to the logical conclusion that the level of research into the theory and performance practice of modern wind works is very limited compared to traditional wind works. Thanks to the efforts of composers such as Yang Qing (“Wilderness”) and Zhu Shizhui (“12 questions”, “Phoenix’s Song”), the number of modern Chinese wind works, especially large-scale concertos, has become very significant. Their works have received wide recognition in the music world and have been included in the repertoire of contemporary Chinese composers, thanks to the brilliant performance of such outstanding performers as Zhang Weiliang, Tang Junqiao and Guo Yazhi. These modern wind works reflect both the achievements of modern Chinese professional music composition and the level of performance in modern China, they are of great importance in the development of the European-style academic trend in China and the performance value, make a positive contribution to the dynamics of modern Chinese composition theory, and have a beneficial effect. for the exchange of Chinese and Western musical cultures.
modern works for traditional Chinese instruments, principles of composition, genre of concerto, performance technique, thematic material, orchestration, Yang Qing, “Wilderness”, Zhu Shizhui, “12 questions”, “Phoenix’s Song”.
Huang Shuai. Chinese traditional wind instruments in the context of European academic genres: composers Yang Qing and Zhu Shizhui // South-Russian Musical Anthology. 2022. No. 2. Pp. 110-121.