STYLE FEATURES IN LI YUQIU’S WORKS FOR BAYAN AND ACCORDION

The relevance of the article is due to the close attention of scientists to the process of development of New Music in China during the period of reform and opening up. Works of various genres for European instruments were created by Chinese composers in the process of assimilation of their native tradition in the stylistic context of Western musical means. Music for bayan and accordion was no exception. The purpose of this article is to study the creativity for these instruments by Li Yuqiu, a prominent Chinese composer of the second half of the 20th century and early 21st century. The figures of individual composers in this area of creativity are poorly reflected in Russian musicology, which emphasises the scientific novelty of this research. The article presents an analysis of the process of nationalisation in Li Yuqiu’s works for bayan and accordion, and provides a periodisation. The author of the article substantiates the development of such tendencies in the composer’s work as the movement from miniatures to the cycle (in particular, suite, sonata), as well as the expansion of the European palette of musical expressive means. The example of the first movement of Sonata No. 3 for accordion shows the specific manifestation of the national origin of genre-related (song, dance, narrative), modal, textural and rhythmic features of the composer’s thematics. A conclusion is drawn about the influence of Li Yuqiu’s achievements in the field of accordion music in China.