TRENDS OF GENRE AND STYLE EVOLUTION OF CHINESE CHORAL ART BETWEEN THE XX–XXI CENTURIES

Abstract

Research objective of the study is to outline the determinants and genre and style features of Chinese choral art at the turn of the XX–XXI centuries. The methodological basis of study is comparative principles that allow the application of culturological, historical, semiotic methods and approaches, traditional musicological research tools, including methods of genre and stylistic analysis. The scientific novelty of the article is the coverage of sociocultural, artistic factors, the specifics of genre and stylistic processes in the choral work of Chinese composers and the introduction into the scientific circulation of musicology previously unmastered contemporary Chinese composers choral work. Conclusion. The pluralism of the genre and stylistic evolution of Chinese contemporary choral art is the result of factors such as: the preservation of hereditary ties with national mental and authentic origins; features of sociocultural realities; the need of genre palette of world choral art, synthesis of national and world musical thinking and speech; features of dialogue with world art, personal orientations of artists in mastering world experience, creative modulation of Chinese art in the world, formation of “new artistic identity” phenomenon and the figure of the artist-mediator between cultures. The leading genre landmarks of modern Chinese choral music are cantata and various cyclic forms, marked by individualization of creative worldview, preservation of national opera traditions, significance of programmaticity and mentally determined national art concepts – image of nature. The essential directions of the national genre and stylistic modification of modern Chinese choral art are singed out in the article: deideologization of patriotic, civic themes; approbation of serial technigues, aleatorics, sonorics and their synthesis with national, in particular regional, bases of musical language and thinking; creation of solo and children versions of the cantata; nationalization of the instrumental component by the introduction of folk instruments; experimentalism – deverbalization, the use of voice as an instrumental, timbre paint, emancipation of dynamics, the use of spatial effects; creation of global dialogue and synthesis of arts; approbation of multimedia potential of choral art modernization.