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DOI:
https://doi.org/10.25807/PBH.22225064.2019.48.243.253
The article is devoted to the analysis of the piano suite by the modern
Chinese composer Tan Dun “Eight Memories in Watercolor: Home”.
The focus is on the interaction of the national origins of the composer
with the modern language of the European musical culture. This
perspective is especially important for comprehending Tan Dun's
creative method. The conditions of its formation as a composer,
circumstances of his life, determined how traditions of the national
art and the diverse experience of the European academic and avant-
garde music were refl ected in his music. The musical language of the
suite is analyzed in the complex of its constituent elements: melody,
modes, harmony, texture, metro rhythm, and form.
Keywords: Tan Dun, folk song, pentatonic, folklore types, suite, Chinese music, modern
harmony, cycle, composition technique of the twentieth century.
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