ARTISTIC CHARACTERISTICS AND HISTORY OF THE DEVELOPMENT OF MODERN CHINESE OPERA OF THE “NEW TREND”
UDC index:
78.036
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Information about authors: Zhu Linji, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: 534366380@qq.com
Annotation: From the 1950s and up to the mid-1990s, the use of Western musical concepts in China was at the experimental stage, and the newest ideological trends with powerful modern Western flavor could not find support in musical circles that set the direction for the development of Chinese opera. Nevertheless, the creative search for Chinese composers led to major changes in the genres of modern Chinese opera in the 21st century, in the end, led to the creation of the opera of the “New Trend” (beginning with 1990s). At this time, the post-modern musical art gained particularly rapid development in China, which led to enormous changes in the techniques of writing, genres and styles of opera, new works began to drastically differ from the classical “serious” opera and the Chinese national opera. At the same time, the chamber opera began to develop most rapidly: works having small volume but deep content began to embody the most popular form of opera in the musical world of China. The object of study in this article is the development of opera of the “New Trend” in China, and its content is mainly devoted to the problems and obstacles that this genre encountered in its development, as well as in the active creative search of Chinese composers. In addition, the author analyzes the artistic features of the chamber opera “The Risky Game” composed by Wen Deqing, revealing how the Chinese composer managed to rationally use the techniques of Western postmodern music, while at the same time harmoniously incorporating elements of Chinese ethnic music into the composition.
Keywords: chamber opera, opera of the “New Trend,” postmodern music, style parameters, elements of folk music.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Zhu Linji, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: 534366380@qq.com
Annotation: From the 1950s and up to the mid-1990s, the use of Western musical concepts in China was at the experimental stage, and the newest ideological trends with powerful modern Western flavor could not find support in musical circles that set the direction for the development of Chinese opera. Nevertheless, the creative search for Chinese composers led to major changes in the genres of modern Chinese opera in the 21st century, in the end, led to the creation of the opera of the “New Trend” (beginning with 1990s). At this time, the post-modern musical art gained particularly rapid development in China, which led to enormous changes in the techniques of writing, genres and styles of opera, new works began to drastically differ from the classical “serious” opera and the Chinese national opera. At the same time, the chamber opera began to develop most rapidly: works having small volume but deep content began to embody the most popular form of opera in the musical world of China. The object of study in this article is the development of opera of the “New Trend” in China, and its content is mainly devoted to the problems and obstacles that this genre encountered in its development, as well as in the active creative search of Chinese composers. In addition, the author analyzes the artistic features of the chamber opera “The Risky Game” composed by Wen Deqing, revealing how the Chinese composer managed to rationally use the techniques of Western postmodern music, while at the same time harmoniously incorporating elements of Chinese ethnic music into the composition.
Keywords: chamber opera, opera of the “New Trend,” postmodern music, style parameters, elements of folk music.
