CHINESE MUSICAL TRADITIONS: STAGES OF DEVELOPMENT

Authors

DOI:

https://doi.org/10.31866/2410-1915.21.2020.208235

Keywords:

worldview system of China, musical art, cultural traditions, philosophy of the country

Abstract

The purpose of the article is to analyse the development of the worldview system of Ancient China, in particular, the philosophy that directly determined the cultural and musical traditions of the country. The research methodology provides historical and biographical methods for the subject studying. We have researched the effects of the worldview of Ancient China on the country’s musical traditions. Furthermore, we have defined the historical names of philosophers who influenced the development of musical art and education mostly, which also affected cultural traditions. Conclusions. Chinese musical culture has been proven to be originated from the performance of ritual song and dance rites during work, then it was repeated in court and temple traditions. As a result, by the time of the early Western Zhou period (the 11th – 3rd centuries BC), a music institution was created, which started a school of music and dance. Music took a philosophical content in the late Eastern Zhou period (770 – 256 BC) following the emergence and spread of Confucianism and Taoism. During the Han period, due to the cultural influence of India and other Middle Eastern countries, Buddhism spread in China, and new musical instruments appeared. In the 6th – 7th centuries, musical compositions for qin and pipa were composed, written in the form of dialogues that included songs and dances; the role of the orchestral part began to grow. During the 11th – 13th centuries, musical styles were divided into northern (heroic moods, heptatonic scales) and southern (strict rules of composition, pentatonic scales). Since the 17th century, Chinese music has been introduced as folk songs. Jingju theatre performances became popular. Shi fan xue orchestra music was actively developing. In the 18th and 19th centuries, Chinese musicians did already use the European instruments and perform European music. Changes have been taking place in the vocal art, where the socalled musical form tanci has appeared. In the 20th century, Chinese professional music was formed, and the system of music education was developed. There was a search in the musical style in order to emphasise the national basis. Chinese composers in their original works combine national and stylistic origins with models of European music, thus creating their own nationally coloured style.

Author Biography

Maryna Antoshko, Ukrainian National Tchaikovsky Academy of Music

PhD in Art Studies

References

Anuchyna, L. V. (2005). Kultura Skhodu (davni tsyvilizatsii i serednovichchia) [Culture of the East (ancient civilisations and the Middle Ages)]. Rehion-inform [in Ukrainian].

Baxter, W. H. (1991). Zhou and Han phonology in the Shijing. In W. G. Boltz, & M. C. Shapiro (Eds.), Studies in the Historical Phonology of Asian Languages (pp. 1-34). Benjamins [in English].

Confucius. (2002). Izrecheniia. Kniga pesen i gimnov [Sayings. Book of Songs and Hymns] (I. Semenenko, & A. Shtukin, Trans.). Folio [in Russian].

Den Kai Iuan. (2015). Osobennosti natcionalnoi stilistiki v kamerno-vokalnoi muzyke kitaiskikh kompozitorov [Features of national stylistics in chamber-vocal music of Chinese composers]. The problems of interaction of art, pedagogic science, theory and practice of education, 44, 58-70 [in Russian].

Grube, W. (1932). Chinesische Literatur [Chinese literature]. Athenaion [in German]

Ha Poong Kim. (2016). Joy and sorrow: songs of ancient China: a new translation of Shi Jing Guo Feng. Sussex Academic Press [in English].

Karlgren, B. (1964). Glosses on the Book of Odes. Museum of Far Eastern Antiguities [in English].

Kobzev, A. I. (2018). Starye problemy i novyi perevod "Shi tczina" [Old problems and new translation of "Book of Poetry"]. Obshchestvo i gosudarstvo v Kitae, 48(2), 261- [in Russian].

Kravtcova, M. E. (1983). Avtorskie "iuefu". K istorii razvitiia [Copyright "yuefu". To the history of development]. In Pismennye pamiatniki i problemy istorii kultury narodov Vostoka [Written monuments and problems of the history of culture of the peoples of the East] (Pt. 2, pp. 25-31). Nauka [in Russian].

Lisevich, I. S. (1969). Drevniaia kitaiskaia poeziia i narodnaia pesnia [Ancient Chinese poetry and folk song]. Nauka [in Russian].

Perelomov, L. S. (2000). Confucius: "Lun Iui" [Confucius: "Lun Yu". East literature]. Vostochnaia literatura [in Russian].

Sidikhmenov, V. Ia. (1987). Kitai: Stranitcy proshlogo [China: Pages of the Pas] (3rd ed.). Nauka [in Russian].

Tcyrenov, Ch. Tc. (2007). Drevnekitaiskii gosudarstvennyi deiatel Guan Zhong i odnoimennyi traktat "Guan-tczy" [The ancient Chinese statesman Guan Zhong and the treatise of the same name "Guan Tzu"]. In Istoriia i kultura narodov Sibiri, Stran Tcentralnoi i Vostochnoi Azii [History and culture of the peoples of Siberia, Central and East Asia] (pp. 451-469). ESSACA [in Russian].

U Gen-Ir. (2011). Istoriia muzyki Vostochnoi Azii (Kitai, Koreia, Iaponiia) [History of East Asian music (China, Korea, Japan)]. Planeta muzyki; Lan [in Russian].

Vasilchenko, E. V. (2013). Model mira v zvuchanii kitaiskoi tcitry tcin [A model of the world in the sound of Chinese qin zither]. Vestnik Rossiiskogo universiteta druzhby narodov. Seriia: Vseobshchaia istoriia, 1, 7-34 [in Russian].

Downloads

Published

2020-07-22

How to Cite

Antoshko, M. (2020). CHINESE MUSICAL TRADITIONS: STAGES OF DEVELOPMENT. Culture and Arts in the Modern World, (21), 11–22. https://doi.org/10.31866/2410-1915.21.2020.208235

Issue

Section

THEORY AND HISTORY OF CULTURE