Invariants of the complex tripart form in the piano sonatas of chinese composers

Abstract

The purpose of the work is to find the first examples of a complex three-part form in the sonatas of Chinese composers, to determine the peculiarities of their structure in order to further reveal the problem of the typology of musical forms in the piano works of the twentieth century, to highlight the process of transformation of artistic thinking, which gave rise to new formative concepts. The methodology of the research is manifested in the application of historical, epistemological, theoretical, analytical and typological methods of analysis. The scientific novelty lies in the fact that for the first time in Ukrainian musicology an attempt has been made to analyse one of the most complex musical forms in its various individual manifestations in Chinese piano sonatas of the same period, namely the late 1950s and early 1960s. It is proved that the initial examples of this musical form can be found in the first "great" piano sonatas of Chinese composers and reflect the reception of its classical prototype in the formation of the piano sonata genre. Conclusions. The analysis of the individual structures of the complex three-movement form in the piano sonatas of Chinese composers has proved its widespread use in the first "great" examples of the genre, presented by Zou Lu and Guo Zhiyuan. Despite some differences in the invariants of this form, Guo Zhiyuan largely imitated the development of a new structure for Chinese piano music begun by Zou Lu. The formative concepts of these composers produced a national version of the piano sonata according to the European model, demonstrating the transformation of artistic thinking in comparison with Jiang Wenye's previously created sonatas.