Understanding the Intertextuality Theory in the Context of Modern Musical Culture (on the Example of Chinese-Russian Cultural Dialogue)

Introduction. The relevance of the study lies in the fact that in the 20th century, musical art entered anew stage of developmentand at the present stage is characterized by atendency towards polystylistics and the expansion of musical practice to the entire cultural tradition. In this regard, in the publications of modern musicologists, there is agrowing interest in the problems of dialogicity, polystylistics and intertextuality. The purpose of the study is to consider the development of the theory of intertextuality (which is based on the dialogic principle of M. M. Bakhtin) in the study of musical art. Materials and Methods. The material of the study is the works of Chinese composers and their reflection in modern musicology. Theleading approach in the work is culturological (allowing to understand intertextas apart of national culture). Theauthors also use intertextual (to analyze specific works of Chinese music), integrative (to useabroad empirical base of various fields of humanities), axiological (to establish the value orientations of interacting cultures) approaches and the dialogical method (facilitating the understanding of musical traditions). Results and Discussion. Theauthors show that modern musicology follows the path of mastering thealready accumulated scientific experience in related fields of humanities and tries to develop its own methods of text research, in particular, turning to intertextuality as amechanism of preservation and transmission of cultural information. Intertextuality in music is realized as acondition and away of existence of the text in the semiotic cultural environment in relation to the creative process of an individual composer, taking into account individual techniques of intertextual interaction, which results in adialogue of original cultural concepts. Conclusion. Thearticle contributes to the development of the theory of intertextuality and of its application to music research, to the study of the Chinese-Russian cultural dialogue. Its materials may be useful to specialists in the field of comparative musicology, the study of Chinese musical culture, and Chinese-Russian cultural relations.