On the question of formation in Chinese chamber-instrumental music for flute (on the example of Zhang Dinhe’s work «Little fish with pink cheeks»)

In this article, the author addresses the issue of shaping in Chinese chamber instrumental music for the Western European flute using the example of the musical composition "Little Fish with Pink Cheeks" by Chinese composer Zhang Dinghe. In the course of the conducted musicological analysis, the author notes that programmaticity is realized in this musical composition also at the level of form formation: the concentric form of musical composition, which was widespread in China back in the Ming era, is mirror-symmetrical, which in the context of the play is associatively perceived as a reflection on the mirrored surface of the water - the abode of a small fish. The author of the article also notes that the form of this piece of music can be likened to the Asafiev triad. Of great importance is the careful attitude of the composer to preserve the sound of the "original source" - the Chinese folk song of Anhui province "Eight pieces of brocade".