Littérature scientifique sur le sujet « Te shu gang chang »

Sinds 2012 richt kunstenaar Elly Van Eeghem haar blik en lens op hoe steden veranderen. In de voorbije zes jaar werkte ze in verschillende stadswijken in Parijs, Berlijn, Montreal en Gent. Ze gebruikte foto- en video-opnames, acties in de publieke ruimte en archiefbeelden om collectieve interventies met lokale buurtbewoners op gang te brengen. Momenteel werkt ze aan een boek en een documentaire podiumvoorstelling als slot van dit project. Voor de beeldkatern van FORUM+ maakte ze een selectie uit archiefbeelden, verzameld tijdens binnen- en buitenlandse residenties.Since 2012 the artist Elly Van Eeghem has directed her gaze and lens at the way towns change. During the past six years she has worked in various urban districts in Paris, Berlin, Montreal and Ghent. She uses photography and video, actions in the public space and archive images in order to kickstart collective interventions with local residents. At present she is working on a book and a documentary stage presentation as the crowning piece of this project. She has made a selection of archive images collected during her residences both in Belgium and abroad for the picture supplement of FORUM+.

Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.