Interaction of Cultures in Musical Creativity: Chinese Images in Western Music

Abstract

The purpose of the article is to highlight the traditions of Chinese culture in Western musical art. The research methodology is based on a comprehensive approach, namely the system of historical comparative-typological, musicological, and interdisciplinary research methods. The novelty of the research lies in the first attempt to systematise works by Western composers with Chinese themes, which led to the inclusion of musical art in the dialogue “East – West”; the main vectors of addressing various components of Chinese culture are considered in accordance with the historical dynamics of semantic changes. The conclusions of the study emphasise that the embodiment of Chinese imagery in Western European musical art originates in the works of the 18th to mid-19th centuries, subordinated to the conditionally decorative aesthetics of the “chinoiserie” style, creating a utopian picture of an exotically refined China. The traditions of musical orientalism are developed by classical composers of the 19th century. A turning point is the turn of the 19th and 20th centuries when the emergence of innovative trends, the process of “de-Europeanisation” of Western music leads to the formation of new approaches in embodying the Chinese image. The incorporation of Chinese motifs into Western music illustrates multifaceted cultural exchange and interpenetration of styles. The inclusion of elements of traditional Chinese music, musical instruments, myths, and legends into Western musical practice fosters the interaction of two cultures, resulting in the emancipation of the creative process. This practice adds an aura of exoticism and inspiration to musical interpretation, offering composers the opportunity to express themselves through a non-standard, often amplified sound repertoire.

Keywords: cultural dialogue “East-West”; Chinese music; Western music; cultural exchange.