Chinese Akkordeone Art: National Character and Spiritual Priorities

Abstract

 With a relatively low historical and repertory "genetic threshold" (the 50s of the twentieth century), dating back to the military-civil history, the young Chinese accordion-performing art is characterized by its qualitative specificity, presented in unique sound image forms. Chinese composing, with different content bases, carries the originality of the creative method, the individuality of the handwriting, special principles of working with treatments and arrangements of works (from vocal, instrumental to orchestral and stage). At the same time, we identify problem areas in this subject field. Chinese composing, based on the basic principles of the theory of Chinese art, is closely related to the aesthetic preferences and national moods of the Chinese person. Accordion art in its entirety reflects the national character and spiritual priorities of the people. In many ways, this explains, in our opinion, the fact of the sudden, rapid entry of accordion art into the musical life of the country and its current popularization in culture. On the other hand, this process is not without contradiction, partly related to the course of modern cultural policy of the People's Republic of China. He produces problem areas in Chinese musical culture, which strives both for musical integration and for a certain preservation of its own stylistic, repertoire, and sound specifics. We are trying to reflect on this problem field in the article.