Timbral models of national instruments of Guizhou province in chamber piano works of Chinese composers

Abstract

The article examines the specifics of the sound of ancient folk wind instruments of the Miao national minority of Guizhou Province (China) and the use of their semantic timbresonor pos- sibilities in chamber piano music of Chinese composers. The consideration of the works of composers Han Guisen “Lantern Festival” and Li Shuhua “Snow Mountain” is proposed as the first examples of imitation of the timbre specificity of the instruments of the lusteng and mantong in chamber piano works. The aim of the article is musicological analysis of the piano miniatures of Han Guisen and Li Shuhua in the context of reflecting the innovation in the application of timbre models of these instruments by means of the piano. To carry out the musicological analysis, a range of meth- ods (historical and cultural, musicological, biographical, empirical) were used, which allow us to reveal the specifics of sonorous effects in chamber piano works by Chinese composers as a factor in the evolution of their stylistic. Musicological analysis of the chamber piano works “Lantern Festival” by Han Guisen and “Snow Mountain” by Li Shuhua was carried out. It is proven that these composers rely on national traditions of creating musical compositions in synergy with imitation using technical, sound-imaging and performing means of the piano of the sound of archaic national musical instruments of the early twentieth century and the application of modern compositional tech- niques of the early 20th century. Prospects for further scientific research are outlined, which consist in revealing other works by Chinese composers with the use and methods of embodying the timbre semantics of ancient folk instruments of national minorities of the Guizhou Province.