The Evolution of Shanghai's Choral Culture in Terms of Interaction with the Traditions of European Musical Art
DOI:
https://doi.org/10.31318/2522-4190.2020.127.213890Keywords:
Shanghai choral culture, music infrastructure, Shanghai Music Conservatory, Chinese choral performanceAbstract
Relevance of study. There are considered the features of the development of Shanghai choral culture in historical retrospective. The choral performance of Shanghai is characterized as a separate musical infrastructure, for the successful development of which it is necessary to implement industries and activities that ensure the functioning of the entire system. Main Objective.
The purpose of the article is to reveal the peculiarities of the formation of Shanghai performing choral in terms of interaction with the traditions of European music.
Methodology. In the process of research, a set of analytical methods was used. The main of them were the structural method (in understanding the system of choral art infrastructure in Shanghai), factual (collection and comparison of various information), archival and bibliographic (during the work with primary sources) and historical-typological method, that helped to summarize information on the history of choral art in Shanghai in the twentieth century.
Results/Finding and Conclusions. It is revealed the evolutionary nature of the formation of the Shanghai choral infrastructure. It is determined the role of mental attitudes of the Shanghai population in the process of assimilation of the traditions performing music of other countries (including choral art). It is noted that the active period of the development of Shanghai choral art began in the 1920s. It was associated with mastering by Chinese musicians of the Western European traditions of choral singing. It was happening mainly in virtue of listening to and performing pieces by European composers. It is noted the importance of the Shanghai Music Conservatory in the process of professionalization and intensification of the Shanghai choral culture. The Europeanization of choral art took place under the influence of teachers who received a Western-style education. It was determined that the concert activity of choral groups, including from students of the conservatory, has become an important component of the infrastructure of Shanghai choral culture. The most productive period of Chinese choral music began in the last quarter of the twentieth century and was associated with the “openness policy” of the country. It is concluded that today Shanghai is considered one of the centres of choral art. More than 2,000 choirs are guides of Chinese traditional and Western European musical culture.
References
Eisenstadt, S. (2015). Creative activity of Italian musicians M. Paci and A. Foa in the context of the artistic life of the Russian emigration in Shanghai [Tvorcheskaja dejatel'nost' ital'janskih muzykantov M. Pachi i A. Foa kontekste hudozhestvennoj zhizni russkoj jemigracii v Shanhae]. Historical, philosophical, political and legal sciences, cultural studies and art history. Questions of theory and practice [Istoricheskie, filosofskie, politicheskie i juridicheskie nauki, kul'turologija i iskusstvovedenie. Voprosy teorii i praktiki]. Tambov : Gramota, № 7 (57). Vol. II. Pp. 13–18. [in Russian]
Dai, Yu (2017). Elements of traditional culture in the New Chinese music of the “period of openness” [Jelementy tradicionnoj kul'tury v Novoj kitajskoj muzyke «perioda otkrytosti»], Abstract of the PhD diss. Nizhny Novgorod State Conservatory named after M. I. Glinka. 24 p. [in Russian]
Diveeva, G. (2014). Shanghai National Conservatory in the 1920–1940s : on the problem of interaction with the traditions of Russian music education [Shanhajskaja nacional'naja konservatorija v 1920 – 1940-e gg. : k probleme vzaimodejstvija s tradicijami rossijskogo muzykal'nogo obrazovanija]. Society. Wednesday. Development (Terra Humana) [Obshhestvo. Sreda. Razvitie (Terra Humana)]. Pp. 137–140. [in Russian]
Xu, Zhenwei (2018). The formation of choral music in China in the first half of the twentieth century [Stanovlenie horovoj muzyki v Kitae v pervoj polovine XX veka]. Bulletin of KemGUKI [Vestnik KemGUKI]. Kemerovo : FSBEI HE Kemerovo State Institute of Culture. No. 45, part II. S. 126–133. [in Russian]
Chekan, Y. (2017). Infrastructure of European musical life and features of modern musical texts [Infrastruktura yevropeiskoho muzychnoho zhyttia ta osoblyvosti muzychnykh tekstiv novoho chasu]. National identity in language and culture : a collection of scientific papers [Natsionalna identychnist v movi i kulturi : zbirnyk naukovykh prats]. Kyiv : Talkom. Pp. 3–6. [in Ukrainian]
Chen, Ying (2015). Chinese opera of the twentieth – early XXI century : to the problem of mastering the European experience [Kitaiskaja opera XX – nachala XX veka : k probleme osvoenija evropeijskogo opyta], Abstract of the PhD diss. Rostov State Conservatory named after S. V. Rachmaninov, 17 p. [in Russian]
Hon-Lun, Yang, Michael, Saffle (2017). China and the West Music, Representation, and Reception. Michigan : University of Michigan Press Ann Arbor, 346 p. [in English]
Luo, Qin, Qian, Renping (2017). A Pictorial Chronicle of National Conservatory of Music (1927–1941). Shanghai Conservatory of Music Press, 167 p. [in English]
Wang, Yuhe (2001). New music of China : its development under the blending of Chinese and Western cultures through the first half of twentieth century, part II, Journal of Music in China, p. 189. [in English]
李岚清 (2008). 中国早期的交响音 [Li Lanqing. China’s early symphony]. Beijing. 423 p. [in Chinese]
李丽敏 (2009). 对国乐发展历史 的再认识 [Li Limin. Recognition of the development history of Guoyue]. Beijing. Pp. 163–179. [in Chinese]
张英杰 (2009). 陈洪国乐改革思想 研 究 [Zhang Yingjie. Research on Chen Hongguo's Reform Thought]. Beijing. Pp. 213–219. [in Chinese]
