Ru
EnZhao Zehua
The philosophical basis of the Chinese version of the dodecaphony on the example of Wang Lisan’s Diptych «The basic ideas of Two Poems by Li He»
Synthesis of Chinese and European culture is a major tendency in development of Chinese academic music in the 20th century. The special research interest in this area is caused by studying the tendency of ancient Chinese philosophical thought refraction through the prism of modern European school musical tradition achievements. Using the example of one of the most representative works in this respect, Wang Lixan’s piano diptych «The basic ideas of Two Poems by Li He» (李贺诗意二首), written in the early 1980s, this article presents the author’s approach to studying the peculiarities of the use of the dodecaphony in the context of 20th-century Chinese musical culture. The author studies the features of the artist’s approach to the twelve-tone technique based on the analysis of two parts of the above-mentioned work, «Dream of Heaven» (梦天) and «Emperor Qin Drinking» (秦王饮酒), in terms of compositional, acoustic, harmonic and artistic points of view. As a result of this research, the author concludes that even though Wang Lisan uses dodecaphony, he remains faithful to the national tradition and interprets it very individually, treating the series as an independent symbol that is used to convey the Chinese cosmogony. The philosophical basis of Wang Lisan’s seriality is embodied in the image of the perfect dualistic harmony of the world resulting from the unity of «Yin» and «Yang», where the twelve-tone series acoustic characteristics serve to interpret the processes of these two opposing principles interaction.
Key words
dodecaphony, Chinese serial technique, Wang Lisan, piano cycle «The basic ideas of Two Poems by Li He», philosophical basis in Chinese music.
For citation
Zhao Zehua. The Philosophical Basis of the Chinese Version of the Dodecaphony on the Example of Wang Lisan’s Diptych «The basic ideas of Two Poems by Li He» // South-Russian Musical Anthology. 2023. No. 2. Pp. 63-69.
