Scientific Journal of KubSAU

Polythematic online scientific journal
of Kuban State Agrarian University
ISSN 1990-4665
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Name

Hao Guo

Scholastic degree

Academic rank

Honorary rank

Organization, job position

Gertsen’s State Pedagogical University of Russia
   

Web site url

Email

galkax@mail.ru


Articles count: 2

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PIANO CONCERTO “ТHE ELEGANCE OF SPRING” BY DU MINGXIN: FIGURATIVE SYSTEM, MAIN STYLE LINES

abstract 1321708013 issue 132 pp. 156 – 175 31.10.2017 ru 234
The article is devoted to history of creation of the piano Chinese concert – “Тhe elegance of spring” by Du Mingxin. On the basis of the biography of the composer reconstructed by the author of article on materials interviewed by him and to other sources, the history of emergence of the Concert is recreated. The short characteristic of contents and the theoretical analysis of the main means of expression and composition of all three parts is given. It is established that the first part is written in the form of sonata Allegro with a mirror reprise and a masterly large-scale cadence in it, the second part – an irregular three-part shape with an episode and the final – shining the rondeau sonata. In the conclusion, it is emphasized that Du Mingxin has created the work, national on contents and intonation, on the basis of the European classical canons. National it is embodied first of all through attitude, intonation, the rhythmic drawing. Among a big complex of conclusions, the paramount role of traditions of S. Rachmaninov is especially noted. In his piano concerts, expressive opportunities of east music, first of all mode and intonation, are embodied with unique art perfection. In Du Mingxin's Concert classical balance between a ratio of parties of the soloist and orchestra is reached. The invoice of party of the pianist is masterly, rich with lyrical melodies, the pair structure of orchestra is fully used. “Тhe elegance of spring” – a concert competition of equal creative sizes
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ROLE OF SEMANTICS IN MUSICAL THEMATIC OF THE CHINESE CONCERTS FOR THE PIANO WITH ORCHESTRA

abstract 1341710077 issue 134 pp. 957 – 967 29.12.2017 ru 139
The Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese
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