Contemporary Сhinese composers: what might interest modern Ukrainian schoolchildren
DOI:
https://doi.org/10.32405/2308-8885-2025-2(116)17-19Keywords:
dialogue of cultural, ethnic musical instruments, instrumental music, arts education, national identity, contemporary Chinese composers, schoolchildren, studentsAbstract
The article is devoted to a review of the instrumental works by Chinese composers of the 20th and early 21st centuries. It aims to familiarize Ukrainian educators with a selection of pieces from contemporary Chinese musical art for use in the educational process, highlighting aspects that may captivate Ukrainian students. The author analyzes the compositions in the context of finding points of convergence between Chinese music and global trends. Special emphasis is placed on aspects that can serve as discussion points during music lessons with Ukrainian students of different age groups.
The article raises one of the most important problems – preserving national heritage by maintaining a balance and harmony between tradition and innovation, which is proposed for discussion by Ukrainian schoolchildren. A key feature in the development of contemporary Chinese music is identified as its dual vector. Namely, the Europeanization of musical language, genres, and styles coexists with a growing tendency to preserve national identity. This is particularly evident in the renewed approach to traditional musical instruments and their integration into modern genre contexts.
The general similarity in trends with Ukrainian music is noted, especially in terms of affirming national identity. The article includes examples of works by prominent early 21st-century composers, such as Tan Dun, the Chinese-American composer, known for his programmatic concertos and film music, and Liu Wenjin. As an example of preserving ethnic originality while modernizing the use of traditional musical instruments, the music of early 20th-century master Liu Tianhua is recommended for exploration by Ukrainian students.
The featured works of Chinese composers may also be expanded for study in broader contexts relevant to both Chinese and Ukrainian students. These include conceptual engagement with environmental issues (e.g., in works by Tan Dun), the role of multimedia in contemporary music and its reflection in Ukrainian compositions through global parallels, as well as genre transformations and crossovers, such as the concept of “orchestral theatre.”
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