Concert for clarinet with orchestra “Sounds of the Pamirs” by Hu Bijing in the context of the development of chinese music from the 1970–1980s
Abstract
The development of the New Music of the People's Republic of China at the turn of the 1970s–1980s was marked by a combination of multidirectional genre and style lines. Chinese clarinet music from previous decades inherited composers' attention to folklore, embodied in the system of European music media. The purpose of the article was to analyze a striking example of this style – Concerto for clarinet and orchestra “Sounds of the Pamir” by Hu Bijing. The tasks include the analysis of the work in the context of accompanying phenomena of the professional music of the country. The initial introduction of this material into Russian-language musicology, the typicality of the Concerto for the aspirations of Chinese composers of that time determined the relevance and scientific novelty of the study. As a result, a conclusion was made about the nature of the prototypes presented in the form of modal, rhythmic elements of Tajik folklore, the timbre of folk instruments. The methods of re-intonation of prototypes are associated with the classical-romantic tonal, texture-timbre, and compositional context.
About the Author
Mingyi Zhang
Qiqihar University; Khabarovsk State Institute of Arts and Culture
China
China
lecturer; PhD student
Qiqihar
680045, Khabarovsk
References
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Review
For citations:
Zhang M. Concert for clarinet with orchestra “Sounds of the Pamirs” by Hu Bijing in the context of the development of chinese music from the 1970–1980s. ARTE. 2022;(1):40-54. (In Russ.)
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