Sonoristic in the piano music of Chine of ХХ century

Abstract

The article examines the peculiarities of the development and functioning of the avant-garde as a leading musical style in the Chinese piano culture of the second half of the 20^th century. The political prerequisites for the influence of Western culture on national traditions are highlighted, and specific features regarding the adaptation of the avant-garde in accordance with the Chinese development of piano culture are highlighted, namely the end of the Cultural Revolution and the beginning of openness reforms. It is emphasized that among the typical components of the Western musical avant-garde, such as twelve-tone, microchromatics, intertextual trends, sonoristics, aleatorics, serialism, the sonoristic direction of the avant-garde is singled out as the leading one in the piano culture of China. The article considers that the origins of sonority in the work of Chinese composers are the consequences of the influence of European impressionism.

The typology of sonorics according to Western music of the 19^th and 20^th centuries, which is based on three classes of phenomena, is considered: coloristics, as coloristic harmony, sonoristics, sonorous harmony, sonoristics, as an area of sonorous noise. It is noted that the cultural and historical situation of the second half of the 20^th century determined the study of the sonoristic possibilities of the piano instrument, primarily with the aim of reproducing the intonations of the national instrument. The piano works of Tang Dong, Liang Lei, and Chen Xiaoyun were analyzed and specific features of compositional techniques were determined, which include "String piano" techniques, which perform the function of sound imitation of national plucked instruments; listening to a sonorous image in dynamically static time when freed from external events, as well as using the entire body and internal decoration of the piano in the variety of its sound and potential reaction to a blow, pinch with another object or in any other means, where the ultimate goal is extraction sound