TRADITIONAL CHINESE ORIGINS IN THE EUROPEAN MUSICAL-STYLISTIC CONTEXT: THE TYPE OF FOLKLORISM OF TWO INSTRUMENTAL MINIATURES BY CHINESE COMPOSERS

The study of the stylistic synthesis of Chinese oral and European written traditions is undoubtedly relevant. This is due to the active development of modern Chinese composers’ creativity in this direction. The object of the study is the stylistic development at the stage of the completion of the Cultural Revolution and the beginning of the period of reform and openness, traced through the example of two instrumental miniatures by Wang Jianzhong (1974) and Qigang Chen (1980). Based on the comparative typological methodology, the method of musicological analysis is characterised by the quotation nature of the first opus, close to the ethnographism of arrangements, and the non-quotation thematics of the second one, which grew out of the creatively free refraction of folklore elements. Separated by several years, the opuses, which have individual features of continuity, testify to the then emerging stylistic turn of Chinese instrumental creativity from quotation and generally relatively simple forms of folklore embodiment to non-quotation and more complex forms.