Li Y. The Flute Art of China in the Dimensions of Intercultural Dialogue

The thesis is devoted to the study of the flute art of China in the dimensions of intercultural dialogue. The typology of intercultural dialogue in the flute art of China of the 20th and early 20th centuries was developed in the thesis on the basis of the theory of dialogue developed in the works of A. I. Samoilenko. The types of intercultural dialogue functioning in the flute art of New China composers have been established. The first one is between different historical periods and layers of Chinese national flute culture. The second one is between historically and geographically distant national traditions (Eastern and Western): metamorphosed sound archetypes actualized in the composer’s practice of the Celestial Empire are represented in the timbre of concert flute of European origin. Intercultural dialogue of the first type is conditioned by preservation of traditions reinterpreted in the modern flute chronotope of the «Middle Land». The consequence of reinterpretation of preservation of ancient flute music of the Middle Kingdom into two genre groups – performed in plenary (chi-puchi) and indoors (tso-puchi) – in Chinese composers’ music is performance of program works of plenary themes (chi-puchi) indoors (according to the tradition of tso-puchi). The reinterpretation of Chinese fairy tale sound images and semantic functions of «magic flute» in classical poetry of Tang and Song periods in the samples of composers’ works of the 20th – early 20th centuries is the evidence of topicality of the intercultural dialogue of the first type. Sound images of Chinese flute as an instrument of «bamboo kind» are reinterpreted in works of composers of modern Celestial Empire. Intercultural dialogue of the second type in the structure of flute works of Chinese composers is realized as a productive communication of the East and the West, in the process of which the mutual «understanding» of artistic specificity is crescendoed. The organological and ontological peculiarities of polyflute music peculiar to traditional culture of China are presented. The semantic functions of the flute, formed in Chinese fairy tales, as well as flute sound archetypes, crystallized in the classical national poetry of the Tang and Song periods, are defined. The significance of the discovered sound archetypes in the flute works of the Celestial composers during the 20th and early 20th centuries is revealed. The periods and stages of inheritance of European experience in the process of European flute’s entry into national context of instrumental culture were revealed. The essence of «new programness» of flute and flute-piano miniatures by Chinese composers was determined. The peculiarities of development ways of flute and piano works of large form in the works of Chinese composers are pointed out. The generalized «perfect form» peculiar to them is constructed on the basis of analysis of the whole corpus of flute and flute-piano works by Chinese composers. The result of Western influences on Chinese flute composition is the birth of a new era in its history, the dryness of which is due to the communication to the European flute of the function of a generalized timbre analogue of the varieties of the instrument «bamboo kind» in the traditional musical culture of the Celestial Empire. The extension of the discoveries of the «new flute» of the twentieth century, which distinguish western musical culture, to Chinese composers, gave birth to the «new program», thanks to which the national themes are embodied in the timbre features of the European flute.