Genre specifics in Chinese piano music as a national cultural code

Abstract

. In today's cultural space, it is important to turn to synthetic research, which covers different, but often related fields of science. Among them are those that are inherently connected in their categorical and comprehensible apparatus and indicate synergistic combinations in the implementation of research objectives.  This work is dedicated to the contamination of concepts such as genre, code, culture and music in its unique intersection in Chinese piano art. The cultural code considered as a system of the genre-specific spiritual world, that we can find in piano music, like the cultural meaning of the era. To achieve this goal, the following research methods are identified philosophical and aesthetic – when considering philosophical concepts and aesthetic principles that justify the application of the definition “code” and “anthropology” to the piano works of Chinese composers; historical and cultural, which allows us to trace the main milestones in the evolution of Chinese piano music; method of structural-hermeneutic analysis of individual musical works and modeling of their figurative content based on the coverage of software concepts. The novelty of the study is the application of the concept of cultural code to determine the genre specificity of Chinese piano music, as well as the isolation of cyclic as a crucial unique feature in the works of twentieth-century Chinese composers. Musical anthropology is considered a space for studying the cultural codes of piano art. The conclusions determine that the unique specific component of Chinese piano culture, namely the predominance of cyclical genres with elements of Romanticism, represents the national mentality in the form of legislative information containing in-depth knowledge of the formation and development of Chinese composers