HISTORICAL AND SOCIO-CULTURAL FEATURES OF THE DEVELOPMENT OF VIOLIN ART IN CHINA
Information about authors: Wu Yuzhen, Postgraduate of Glinka Novosibirsk State Conservatoire (Novosibirsk, Russian Federa-tion). E-mail: 381562668@qq.com
Annotation: The article is devoted to the assessment of various processes of development of violin art in China. Through the identification of the historical features of the distribution of the violin since the second half of the XIX century, the definition of the original properties of Chinese violin music out-lines strategies for its development. The relevance of the research is due to the high interest in the problem of musical education in China, in particular, the violin, since this instrument, despite the diffi-culty of mastering it, is one of the most popular academic instruments among both performers and Chinese composers. One of the key themes is the Sinification of violin art. The work of Chinese re-searchers in various scientific fields - Chen Weishi (the Sinification of Marxism), Zhang Shenfu (the Sinification of science), Ai Siqi (the Sinification of philosophy), Liu Qi (the Sinification of culture) - become the mainstay in the development of this topic. The term " Sinification" has become wide-spread and is used, among other things, in Russian–language studies in various fields - politics, lin-guistics, philosophy and religion, sociology and art, including music. In relation to the violin art, the concept of "Sinification" is used in a generally accepted sense – as a bidirectional process, on the one hand, of mastering the instrument, on the other - as a way of broadcasting Chinese traditional artistic achievements, "Chinese style" in the world cultural space. Outstanding achievements in the way of the Sinification of the violin art were demonstrated by such famous musicians as composers Ma Sitsong, Chen Gang, He Zhanhao, Li Yaodong, Li Binyang, Tan Dun, violinists Xue Wei, Lu Siqing and others. Through the analysis of historical and social contexts and the peculiarities of the distribu-tion of the violin in China, the most problematic points in the development of violin art are found in the educational field. The strategy of overcoming negative trends in the development of violin art in China should be based on the intention to instill in novice performers a love of Chinese music from childhood by expanding the pedagogical repertoire, adjusting approaches in the art education system and control (certification) requirements.
Keywords: Violin in China, Sinification, Ma Sicong, Cultural revolution, violin art in China, violin training in China
DOI: 10.31773/2078-1768-2024-68-139-147
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