Price: 50 руб.
The author of the article examines the stylistic features of “Classical Revolutionary
Opera” formed in China in the period of the Cultural Revolution. Attention is focused
on the particularity of typical tunes, the genre of aria, orchestration borrowed from the
traditional “Beijing Musical Drama” and included in the new stylistic context of the
Europeanised type.
Key words: “Classical Revolutionary Opera”, typical tunes, genre of aria, system of
leitmotifs, orchestration.
References
1. Bai Goize. Razvitie kitayskoy natsional’noy opery i nekotorye mysli po etomu povodu. An’khuey, 2006.
2. Wang Ailin. Uspekh «Golubykh prostorov» i novye idei v sozdanii kitayskoy opery // Novye zvuki muzyki. Shen’yan. 1996. № 1. S. 3–7.
3. Weng O Hong, A Jia i dr. «Krasnyi fonar’»: partitura. Pekin: Narodnoe izdatel’stvo, 1970. S. 175–208.
4. Gayda I. V. Stanovlenie kitayskogo traditsionnogo teatra. M.: AN SSSR, 1964.
5. Liyi Chao. Pekinskaya opera. (Tanets, muzyka, pantomima). SPb.: Taybey, 2003.
6. Serova S. A. Pekinskaya muzykal’naya drama (seredina XIX – 40-e gody XX vv.). M.: Iskusstvo, 1970.
