Interpretation of Chinese folkloric and genre prototypes in Li Yuqiu’s first accordion sonata “Great March” (1996)

The aim of this study is to identify the specifics of intercultural "dialogue" in the imagery and stylistics of Li Yuqiu’s Great March, the First Sonata for Accordion (1996). The article presents diverse historical and biographical factors that shaped the musical content, as well as the national folkloric and genre features of the dramaturgy and composition of this four-movement programmatic cycle. The study analyzes the particularities of the original thematic material created by the composer. The scientific novelty lies in the fact that, for the first time, a semantic-stylistic dialogue and inter-genre connections (with European academic genres) are examined on the material of Li Yuqiu’s First Sonata. The research results demonstrate that, within a complex modal-tonal context, the composer’s original musical themes are enriched with elements of Chinese folklore and imitation of folk instrument timbres. This significantly expands the expressive and technical palette of the accordion, enriching its sound with Chinese national colorings. The study reveals the important role of programmatic elements in the dramaturgy and composition of the work, manifested in the fusion of the genre traits of the sonata and suite. Overall, the emergence of Li Yuqiu’s First Sonata contributed to the productive development of music for bayan and accordion in contemporary Chinese professional creativity.