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Performance of Chinese piano music involves a diffilty associated with the embodiment
of the characteristics of the Chinese national music thinking and traditions with their
tonal, rhythmic and harmonic characteristics. Thre are quite a few performing skills
relevant to the Chinese tradition. Ths paper describes the model of thinking inherent in
Chinese music, as well as piano techniques that promote the transfer of the special world view and colours, characteristic of the Chinese traditional music culture.
Key words: Chinese piano works, pentatonism, linear way of thinking, “absent-minded
rate”, figering, features of tune performance.
References
1. Bian Meng. Sovremennoe fortepiano i drevnie kitayskie klassicheskie proizvedeniya. Proizvedenie Van Tszyanchzhuna «Pesnya o tsvetakh slivy v trekh kupletakh» // Muzykal’nyi instrument. 2000. № 4. S. 36–37.
2. Zhao Xiaosheng. «Kitayskiy stil’» fortepiannykh proizvedeniy // Mir iskusstva. 1988. № 2. S. 5–6.
3. Zheng Xingsan. Model’ myshleniya pri igre na fortepiano // Vestnik Tsentral’noy konservatorii. 1996. № 2. S. 59–66.
