Эволюция китайских композиторских песен на основе классической поэзии

The romance genre arose during the period of classicism and gradually gained a foothold in Western Europe and especially in Russia at the end of the 18th and beginning of the 19th centuries. Romance is a synthesis of poetry, vocals and instrumental music, reflecting the refined and sublime nature of the art. The melodies convey the features of the characters’ inner world, and the piano accompaniment plays an important role, uniting with the performer into a single whole. By the middle of the 19th century. Western European national romance traditions have developed: Austro-German (F. Schubert, R. Schumann, J. Brahms, H. Wolf), French (C. Gounod, J. Bizet, J. Massenet), Norwegian (E. Grieg, H. Hjerulf). Chinese composition songs (romances) based on classical poetry began to appear in the 1920s, and its prominent authors included Liao Shangguo, Huang Zi, and Tang Xiaolin. The degree of development of this genre was different in different periods: the “golden era” from 1920 to 1930; in the 1940s - expansion of the genre-style space and enrichment of genre characteristics; and since the 1980s. Until now, a period of revival of Chinese art song has begun. As a result, this genre has achieved a diversity of styles and forms, reflecting the influence of ancient and modern, eastern and western elements, which emphasizes its outstanding cultural significance. The object of the study is the process of evolution of Chinese compositional songs based on classical poetry. The subject of the study is Chinese compositional song of the 19th - early 21st centuries. in the process of its development. The general and special features of the genre under consideration in the context of the Western European composer tradition have been identified, which constitutes the novelty of this article.