Integration of the Traditions of Folk-Instrumental Art into the Works of Chinese Composers of the 20th and 21st Centuries

Abstract

The problem of integration of folk art and, in particular, instrumental art, into the works of Chinese composers of the 20th and 21st centuries, in the light of the above-mentioned phenomena, is relevant, comprehensive and, to a certain extent, inexhaustible for the researchers of the world musicological science. This was a factor that prompted disclosure of the topic in the publication in question, which was at the same time the reason for writing the study. Its relevance stems from the importance of a deep understanding of such a phenomenon as folk instrumental art and its implementation in compositional practice. The purpose of this study is to investigate the process of integrating folklore (its instrumental branch) into professional academic music of China. The main methods for achieving this, are the principles and approaches chosen here to review, collect, study and a certain systematic compilation of sources relating to Chinese music in general, as well as its folk-instrumental field – in particular. The result of the activities undertaken is the categories of all the sectors of the problem under consideration, derived from the research process. They form a coherent structure of systems such as musical language (means of musical expression) and ways of processing folklore sources. The tables and the figure-chart illustrate this aspect. There is a considerable number of different scholarly judgments, perspectives of specialists who have addressed in their research activities the issue of integrating folk instrumental art into the works of Chinese composers of the 20th and 21st centuries. However, the problem of integrating folk instrumental art into the works of Chinese composers of the 20th and 21st centuries, as a holistic and comprehensive phenomenon, requires its own deep and comprehensive research. This fact determines the practical significance of the present study. It also demonstrates the promising nature of scientific knowledge in this field in the future.

Cossack Military Culture as Expressed in Folklore

“…The borrowing of composersʼ techniques from different countries improves the Western modal manner of performance and preserves the national traditions. The musical arrangement supports the artistic skills, modification and enrichment of melodies (Cheng et al 2022). Cultural and historical factors influence the interest in piano music and musical thinking.…”

Exploring the integration of Chinese nationalized piano education in modern music pedagogy

“…The holistic curriculum structure and integration of Chinese piano works showcased in our research resonate with the principles of culturally responsive and relevant education (Palmer et al, 2022) [4] . By blending theoretical knowledge with practical application and cultural exploration, the curriculum design aligns to foster a deeper understanding and appreciation of cultural heritage (Cheng et al, 2022) [12] . Future studies could delve into the long-term effects of such curriculum designs on students' retention of cultural knowledge.…”

“…Chinese Nationalized Piano Education represents a distinct pedagogical approach deeply rooted in Chinese cultural heritage and musical traditions. Unlike traditional Western piano education, which often focuses on technical proficiency and classical repertoire, Chinese Nationalized Piano Education places a strong emphasis on integrating national colors, folk elements, and historical narratives into piano instruction [11][12][13][14] . This approach not only cultivates students' piano skills but also nurtures their understanding of Chinese culture, history, and artistic expression.…”

Exploring the Multidimensional Construction of Cultural Identity through Music Elements of Chinese Suzhou Pingtan

“…In appearance, the three-stringed instrument used in Suzhou Pingtan is typically smaller than a standard three-stringed instrument, often referred to as a "small three-string" (小三弦) or "Shu xian" (书弦). This compact design not only makes it convenient for artists to carry with them but also suits the delicate and gentle performance style of Suzhou Pingtan (Cheng et al, 2022). Moreover, the small three-string instrument produces a bright and resonant tone with a wide range, perfectly meeting the diverse musical demands of Pingtan performances.…”