LoginRegistration
For instance: The Scientific Opinion
About consortium subscription Contacts
(812) 4095364 Non-commercial partnership
St. Petersburg
university
consortium

Articles

Humanities and Science University Journal № 60 (Philology and Archaeology, World History, Art History), 2021

Aesthetic Image of Yangqin within the Convergence between Chinese and Western Music

Fan Rong
Price: 0 руб.
 DOI:https://doi.org/10.25807/PBH.22225064.2021.60.71.82
The Chinese string instrument yangqin has a pronounced national character, but in the new century the art of yangqin crosses the national borders, and it is rapidly spreading in the global culture. Within four centuries of restructuring, evolution and development, this instrument retains its unique shape, richness of timbre, and a special playing technique. Yangqin’s playing has its own traditions, its music captivates listeners with its unique 
style; yangqin remains one of the most important traditional Chinese instruments. In terms of the main indicators, such as the historical aspect of the instrumental culture and technical structure of the instrument, yangqin demonstrates rare compatibility with modern ensemble and orchestral formations in terms of timbre, modulation and rhythmic potential, fl exibility of performing characteristics. The modern practice of yangqin demonstrates its rich potential for both Chinese and Western music. Its beauty is charis-
matic and extremely varied.
Keywords: yangqin, traditional culture, national instruments, playing technique, qinzhu, 
construction, range, texture.
REFERENCES
1. Bao Deshu. Vvedenie v estetiku kitayskoy muzyki. Pekin: Izdatel’stvo Kitays-
koy literatury i istorii, 2006. 267 s. (包德树,中国音乐审美导论,中国文史出版
社,2006. — 267页).
2. Kerimov Medzhnun. Atlas traditsionnoy muzyki Azerbaydzhana. Santur. URL: 
http://atlas.musigi-dunya.az/ru/santur.html (data obrashcheniya: 05.10.2020 g.).
3. Li Li. Natsional’naya instrumental’naya otsenka. Pekin: Izdatel’stvo Tri 
ushchel’ya, 2008. 12/IV. J 632, s. 26 (李立,民族器乐欣赏,2008年12/IV.J632.-26, 
148页).
4. Lo Li. Iskusstvo sochetaniya kitayskoy i zapadnoy kul’tur — Yantsin’. «Sozdanie 
muzyki». Vyp. 5. Pekin: Assotsiatsiya kitayskikh muzykantov, 2018. S. 122–123. (罗
莉.中西合璧的夜莺—扬琴.北京//《音乐创作》2018年第五期).
5. Syun Yan. O sozdanii i ispolnenii proizvedeniy dlya yantsinya v stile sovremennoy 
muzyki. Pekin: Kitayskaya konservatoriya, aprel’ 2012 g. 33 s. (熊雁,浅谈扬琴现代
音乐风格作品创作及演奏,中国音乐学院,2012. 33页).
6. Syan Tszukhua. Vzglyad nazad i perspektivy iskusstva Yantsin’. «Kitayskaya 
muzyka», vypusk 4. Pekin: Muzykal’naya pressa Kitayskoy konservatorii, 2001. 
S. 9–12. (项祖华.扬琴艺术的世纪回眸与展望.北京:中国音乐出版社,《中国音
乐》,2001年第4期,12页).
7. Syan Tszukhua. Shkola Tszyannan’ Sychzhu. Yantsin’ i eyo stil’. «Kitayskaya 
muzyka». Vyp. 3. Pekin: Muzykal’naya pressa Kitayskoy konservatorii, 1990. S. 19–21. 
(项祖华, 江南丝竹扬琴流派及其风格, 中国音乐,1990年第3期,21页).
8. Chzhou Tszinbao. Issledovanie proiskhozhdeniya yantsinya na Shelkovom puti. 
«Kitayskaya muzyka». Vyp. 2. Pekin: Muzykal’naya pressa Kitayskoy konservatorii. 
2010. S. 13–18. (周菁葆. 丝绸之路上的扬琴源流考.北京:中国音乐出版社,《中
国音乐(季刊)》,2010年第2期.18页).
 
Price: 0 рублей
To order