SPECIFICITY OF PIANO-PERFORMING LANGUAGE AND THE PHENOMENON OF CHINESE PIANISM

Abstract

The purpose of the study is to determine the special interpretative and stylistic position of Chinese pianists, which determines their ways of entering the context of the European piano tradition, including methods of mastering classical compositional logic, principles of repertoire selection and use of technical means of piano playing. The methodology of the work is determined by the unity of historical-narrative, discursive and stylistic approaches, it involves the deepening of interpretive assessments and personal characteristics. The scientific novelty of this article is due to the discovery of the fact that precisely thanks to its certain stylistic limitations and technological orientation, the pianistic work of Chinese musicians confirms the specific nature and aesthetic openness – the ability to transform – the phenomenon of artistic playing in music, in particular, in relation to personal interpretation. It is proved that the specific stylistic linguistic features of Chinese pianistism are their necessary mental difference, thanks to which Chinese musicians not only create new interpretive versions of the classical piano repertoire, but also offer a new stylistic variety of pianistic speech. Conclusions. In general, summarizing the material of this article, we can come to the final conclusion that the important components of the interpretative and stylistic position of Chinese pianists are: reference to the world authorities of pianism, to the achievements of great musicians reflected in audio and video recordings, imitation of high authorities, imitation of outstanding interpretations; analysis of well-known, «reference» interpretations not only in class, but also in theoretical studies, the appearance of a significant number of scientific analytical works (dissertations and articles) on the problems of hearing development, expressiveness of playing, on the study of interpretations; wide use of Internet resources as a new characteristic aspect of modern Chinese pedagogy.