Chinese calligraphy and avant-garde composition techniques in the works of Liang Lei
Abstract
The article is devoted to the work of the contemporary Chinese-American composer Liang Lei (born in 1972). In his works, he turned to the centuries-old traditions of Chinese culture, primarily to the visual arts of calligraphy and painting. Using the example of his instrumental opuses “Aural Hypotheses” (2010) for flute, clarinet, violin, cello, piano and vibraphone, and the Concerto for Harp and Chamber Orchestra (2008), the process of refraction of the characteristic features of Chinese calligraphy and painting guohua in the musical fabric is considered. It is realized at the level of writing styles (shoujin, kuangcao), in working with the empty space of the white sheet of paper feibai, techniques of applying ink to paper, and the use of different types of ink consistency. In the process of comparative analysis it was established that for artistically convincing embodiment of the features of calligraphy and painting Liang Lei turned to a wide range of techniques of avant-garde methods of composition – micropolyphonic and pointillistic texture, limited aleatoric, repetitive technique, sonoristics, techniques of extended piano and genre elements of instrumental theater. Thus, the composer combined ancient traditions of Chinese calligraphic art with modern Western means of musical expression.
About the Author
Chong Ding
Nizhny Novgorod M. I. Glinka State Conservatory
Russian Federation
Russian Federation
Ding Chong, postgraduate student Music History
603000, Nizhny Novgorod
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Review
For citations:
Ding Ch. Chinese calligraphy and avant-garde composition techniques in the works of Liang Lei. ARTE. 2025;(3):78-90. (In Russ.)
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