Price: 50 руб.
DOI:
https://doi.org/10.25807/PBH.22225064.2020.52.161.169
The paper is devoted to the current state of Chinese piano art and considers the
range of issues that arise at the present stage of its evolution. The indisputable
achievements of the national piano school, which has advanced to the forefront
on the global scale this century, have led to the emergence of many problems
associated with the need to provide high-quality training for the multimillion-
strong army of future pianists — professionals and music lovers. The case is about
diffi culties of the transition from an extensive to an intensive period of develop-
ment, when qualitative growth does not keep pace with a quantitative growth and
a consistent decrease in the average level of piano art in all its forms occurs:
performing, composing, and teaching ones. The paper attempts to consider vari-
ous ontological and epistemological aspects of Chinese piano culture related to
the lack of qualifi ed personnel, inequality in access to quality pianistic training,
and the lag in the fi eld of theoretical studies on modern pianism, etc.
Keywords: Piano art, modern pianism, Chinese specifi cs, ontological and episte-
mological issues.
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