MA SIZONG'S VIOLIN WORK IN CONTEXT ARTISTIC AND AESTHETIC TRENDS AND ARTISTIC DIRECTIONS OF THE TWENTIETH CENTURY

  • Li Yan Lun пошукувач кафедри історії музики Львівської національної музичної академії імені М. В. Лисенка , Україна
Keywords: Chinese violin music, Ma Sizong, neo-romanticism, impressionism, symbolism, neo-folklore, neoclassicism, fauvism, urbanism, primitive naive, expressionism, minimalism

Abstract

The problem of synthesis of artistic and aesthetic directions of the XX century is considered in the violin music of the Chinese composer Ma Sitsong, whose creative path is outlined in the European, Chinese and American periods. Ma Sitsong was the first Chinese musician to study at the Paris Conservatory and adapt the modernist tendencies of Europe (Impressionism by C. Debussy; I. Stravinsky's search for the "Holy Spring", B. Bartok's neo-folklore). The principles of the latter resonated with Ma's intense reliance on the national Chinese firstborn. After returning to China, he admired the work of S. Prokofiev. Violin music (the first Chinese Concerto, Xinyan Rhapsody for Violin and Orchestra, Suiyuan Suite, Rondo №№1-2) showed a bright national beginning combined with neo-romantic tone and impressionistic sound recording. The mystical-religious figurative conceptosphere of the Tibet Suite is full of symbolic features. After emigrating to the United States, the composer turned to the native music of Taiwanese aborigines (Amei and Gaoshan Suites). Reproducing archaic images, Ma tends to Fauvism, primitive naivety and minimalism, continuing the line of I. Stravinsky, corresponding with the search for his contemporaries: O. Messian, J. Cram, J. Cage, T. Takemitsu, M. Skoryk. In works of the American period (Concerto for 2 violins, Rondo №№3-4, Sonata №3, Sonata for 2 violins solo) neoclassical, expressionist, urban features, elements of Westernization, jazz are felt. Ma Sitsong, as one of the founders of the national violin school, organically combines the diversity of world trends with a lasting reliance on Chinese folk music.

References

An Lu (2015) The Development of the Violin in China. Xi Jiang Wen Yi, June 3, 2015. Accessed October 11, 2020. http://qikan.com/brand/F5C938BB-7349-4975-B9B1-12E9B9EE8856.

Cheng Shen (2009). The Characteristics of Violin Arts Developed in China. Asian Social Science,Vol. 5 № 12 (January 2009), Р. 113–116.

Crisci M., Cheng Ken Chi (2020) The King of Violins: The Extraordinary Life of Ma Sciong, China's Greatest Violin Virtuoso. Orca Publishing Company USA, 2020, 312 р.

Liang Maochun (2001) Violinist of the First Generation as Well as Composer: Ma Sicong. Music of the ХХ Century in China. Beijing: China Economic Publishing House, 2001, 108 р.

Liang Mingyue (1985) Music of the Billion: An Introduction to Chinese Musical Culture. New York: Heinrichshofen Edition C.F. Peters, 1985, 310 р.

Liu Ching-сhih (2010) A Critical History of New Music in China. ІSBN: 978-962-996-360-6 Hong Kong: Chinese University of Hong Kong, 2010, 960 р.

Melvin Sh., Jindong Cai (2004) Rhapsody in Red: How Western Classical Music Became Chinese. New York: Algora Publication, 2004, 376 р.

Ming-Ying Chiu (2013) Sicong Ma's Amei Suite & Gaoshan Suite: historical background and performer's guide. Louisiana State University and Agricultural and Mechanical College. LSU Doctoral Dissertations. 2013, 78 р.

Cong Sun (2006) Four Chinese Music Demigods and Chinese Romanticism of the Twentieth Century. Thesis, College of Willian and Mary, 2006, 32 p.

Xiang Yansheng. Ma Sicong's Place and Contribution in Modern Chinese Music History. Musicology in China 1 (1994). P. 65 – 66.

Хuan Tang (2007) The development of chinese violin music after 1850: synthesis of western compositional style and chinese folk tradition: the art of Ah Bing, Tian-Hua Liu, and Si-Cong Ma. D.M.A. University of Houston 2007, 171 p.

Quan Yuan (2013) The History of Chinese violin compositions in the 20th century. Henan Social Sciences 5. 2013, р. 98.

Zheng Li (2014) The Changing of Aesthetic Characteristics of the Violin Music in China. The New Voice of Yue-fu (The Academic Periodical of Shenyang Conservatory of Music) 1 (2014): р. 222.

姜卞, 单颂. 中国音乐史. 上海:上海音乐, 1937. 276 页. [Тянь Бянь, Шан Сун. Історія китайської музики. Шанхай: Шанхайська консерваторія, 1937. 276 с.]

Published
2021-03-05
Citations
How to Cite
Li Yan Lun. (2021). MA SIZONG’S VIOLIN WORK IN CONTEXT ARTISTIC AND AESTHETIC TRENDS AND ARTISTIC DIRECTIONS OF THE TWENTIETH CENTURY. International Journal of Innovative Technologies in Social Science, (1(29). https://doi.org/10.31435/rsglobal_ijitss/30032021/7457
Share