СТИЛЬОВІ АСПЕКТИ АДАПТАЦІЇ НАЦІОНАЛЬНОЇ ІНСТРУМЕНТАЛЬНОЇ ТРАДИЦІЇ У ФОРТЕПІАННІЙ МУЗИЦІ СУЧАСНИХ КИТАЙСЬКИХ КОМПОЗИТОРІВ

The article deals with the interaction of Chinese folk music with the practice of Chinese composers of the twentieth century. The issues of implementation of China's traditional musical culture in piano music. Identifies principles of adaptation isntrumental specifics of Chinese music to the expressive possibilities of the piano and performing. The purpose of the article – to identify specific guidelines adaptation of folk music of China in terms of piano expressiveness in the works of modern Chinese composers.Universal technological and expressive possibilities of the piano became urgent for Chinese composers of thetwentieth century, who in their work relied on the traditions of their national musical culture. Musical tradition of China issignificantly different from the classical European. In their works, Chinese composers inherited tonal and rhythmicspecificity of Chinese folk music, the characteristical sound of the voices of Chinese folk instruments and playingtechniques to them. In their piano works, they were on the way to adapt "native" musical material to the expressivepossibilities of a "foreign" tool. This synthesis is largely determined the national character and style specifics of Chinesepiano music.The consequence of this composer's method was to the fore such forms of piano music as arrangement andtranscription of songs and instrumental samples of Chinese folk music.Chinese composers of the twentieth century in their piano works based on folk traditions of their musical culture,and this is reflected in the melodic, harmonic, intonation, rhytmical and sonoric level of their works.An example of the refractive index of the creative adaptation of national folklore and expressive potential of thepiano to the specific timbre of Chinese folk instruments is to play Lee Inhaj "Chinese flute and the drum at dusk." Thiswork is a vivid imprint in a piano sound dialogue between the two instruments – the Chinese flute and drum. Soundimage of colorful instrumental timbres embodied in the specific decision textured, dynamic, rhytmic and articulation pianoexpressiveness.Among the stylistic features of the works of Lee Inhaj note the following: a thematic link with the national culture; reliance on Chinese folk songs as tonal and thematic basis of a musical work; adaptation to the piano texture and tonalvariety of performance techniques of Chinese instrumental tradition; leading role in the principle of individual creativebreaking of national musical traditions.Статья посвящена проблеме взаимодействия китайского музыкального фольклора с композиторской практикой китайських композиторов ХХ века. Рассматриваются вопросы претворения традиций музыкальной культуры Китая в фортепианной музыке, а также выявляются принципы адаптации иснтрументальной специфики китайской музыки к выразительным и исполнительским возможностям фортепиано.Стаття присвячена проблемі взаємодії китайського музичного фольклору з композиторської практикою китайських композиторів ХХ століття. Розглядаються питання втілення традицій музичної культури Китаю в фортепіанній музиці, а також виявляються принципи адаптації інструментальної специфіки китайської музики до виразних і виконавських можливостей фортепіано