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Home , David Shifrin, Fan Lei (clarinetist), He Xuntian, Woodwind instrument

Volume 9 - Issue 27 / March 2020 301

DOI: http://dx.doi.org/10.34069/AI/2020.27.03.33

The Making of Woodwind Art in

Становление искусства игры на деревянно-духовых инструментах в Китае

Received: December 28, 2019 Accepted: February 15, 2020

Written by: Liu Yang102 ORCID: 0000-0003-1063-2637 Svetlana Anatolievna Mozgot103 Spin-code: 530-244 ORCID: 0000-0002-5342-6940

Abstract Аннотация

The phenomenon of the formation of the Феномен становления искусства игры на woodwind instrument art in China of the 20th деревянно-духовых инструментах в Китае ХХ century is due to the unique synthesis of Western века обусловлен уникальным синтезом European traditions and the experience of западноевропейских традиций и опытом игры playing traditional national wind instruments. на традиционных национальных духовых The relevance of the study is due to the fact that инструментах. Актуальность исследования the growth of professionalism among - связана с тем, что рост профессионализма performers stimulates creativity, среди музыкантов-исполнителей стимулирует producing the development by Chinese композиторское творчество, продуцируя of the styles and genres of Western освоение китайскими композиторами стилей и European . In turn, the combination of жанров западноевропейской музыки. В свою styles and genres of academic art with intonation очередь, сочетание стилей и жанров and expressive means of national Chinese music академического искусства с интонацией и creates new, interesting examples of musical средствами выразительности национальной compositions by contemporary Chinese китайской музыки создаёт новые, интересные composers, worthy of a separate in-depth study. образцы музыкальных сочинений The purpose of the article is to consider the современных композиторов Китая, достойные prerequisites, features of the formation of the отдельного глубокого изучения. Целью статьи performing art of woodwind instruments in является рассмотрение предпосылок, China, as well as identifying possible prospects особенностей становления исполнительского for its development. The leading approach to the искусства игры на деревянно-духовых study of the problem is a comparative approach инструментах в Китае, а также выявление in assessing the development of the art of playing возможных перспектив его развития. woodwind instruments in China and in Western Ведущим подходом к исследованию проблемы and America. A close relationship является сравнительный подход в оценке between performing, composing and musical развития искусства игры на деревянно- education is revealed. It is proved that the духовых инструментах в Китае и в странах development of performing arts should be aimed Западной Европы и Америки. Выявлена тесная at enhancing the ensemble qualities of musicians, взаимосвязь между исполнительским, which is due to the priority of the chamber- композиторским творчеством и музыкальным instrumental genres in modern practice. образованием. Доказано, что развитие The significance of the article, both in theoretical исполнительского искусства должно быть and practical terms, is due to the fact that its направлено на усиление ансамблевых качеств results can be used as elements of a музыкантов, что обусловлено приоритетом methodological base for further research on the жанров камерно-инструментального issues identified. творчества в современной концертной практике. Значимость статьи, как в

102 Lecturer of School of Arts and Media at Suqian College of P.R. China, Post-graduate student of Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia. 103 Doctor of Arts, Professor of Institute of Music, Theater and Choreography at The Herzen State Pedagogical University of Russia.

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Liu, Y., Mozgot, S. / Volume 9 - Issue 27: 301-310 / March, 2020 302

Key words: performing art of playing woodwind теоретическом, так и практическом плане instruments in China, composer work, formation обусловлена тем, что ее результаты могут быть periods, genres of music for , music использованы в качестве элементов education system, training and concert методологической базы для дальнейшего repertoire, requirements and evaluation criteria, исследования намеченных вопросов. performing skills. Ключевые слова: исполнительское искусство игры на деревянно-духовых инструментах в Китае, композиторское творчество, периоды становления, жанры музыки для кларнета, система музыкального образования, учебный и концертный репертуар, требования и критерии оценки, исполнительские навыки.

Introduction

In the course of the 20th century, efforts have Copland; performed solo in front of H. been made in China to increase the level of Clinton, US Secretary of State, S. Harper, former performing skills on wind instruments, to Prime Minister of Canada, and D. Cameron, identify learning problems and improve the former Prime Minister of Great Britain. His modern education system, integrating the performances were broadcast on WQXR in New experience of leading countries in the York, New Haven Connecticut Public Radio, development of musical art. is one of the Wisconsin Public Radio, Canada National Radio, most active teachers who has synthesized in Former Yugoslavia National Television, China practice various techniques for teaching clarinet Central Television and Television playing. These include the methods that he Station. Fan Lei is currently continuing intensive mastered while studying with a professor at the concert activity. In addition to joint performances Central Conservatory in , Tao Chunxiao, with famous musicians of Chinese descent, such China's first world-famous clarinet player, as as Lu Jia, Zhang Yutin, Wei Danven, Shui Lan well as methods developed in Europe and and others, he also repeatedly performed America. His teachers were Elsa Werder, chamber music concerts with world-class Lawrence MacDonald, , Fred masters such as Patrick Gallois, Frank Ormand and Kalman Opperman. Comparing Weinstock, Richard Killmer, Stephen Maxim, different teaching systems for playing the Edgar Meyer and David Shifrin. Fan Lei actively clarinet, Fan Lei formed a series of guidelines supports the development of modern music. Fan that help to improve not only the technical skills Lay held a recital at the Banff Center in Canada of his students, but also expand his worldview, in 2000, and the first North American forming a special philosophy of performing art performance of Sextet K. Penderetsky was (Liu Yang, 2019). organized, and the premiere of American composer James Cohen took place that same Fan Lei (born 1965), a well-known Chinese year. An important component of Fan Lay's clarinet player and teacher, graduated from the activity is the jury at numerous international Oberlin Conservatory of Music, the oldest music competitions - in Xi'an (2002, educational institution in Oberlin, Ohio, USA, 2005), Wuhan (2007), Beijing (2009), the and then graduated from Yale with a diploma and international chamber at the master's degree in art. He represented China at Central Music Conservatory (2017), New York the international clarinet competition in Toulon, National Clarinet Art Club Competition (2018). , where he won an honorary award. He Today, Fan Lei conducts clarinet training classes received an award at the Seattle International at universities in the and China, is Clarinet Competition, and advanced to the a clarinet professor at Lawrence University in 1991 final selection competition for young Wisconsin, a professor at the Central Music performers in New York. He gave solo concerts Conservatory of China, a visiting professor at at the XXIII Clarinet Music Festival in Xi'an and Shenyang Music Conservatories, and Oklahoma; at the International Clarinet Music is the founder of the International Competition Festivals in Beijing and Taipei; performed the clarinet named after V.A. Mozart and the solo part in the for clarinet and A. International Festival of and Percussion. Copland , together with the Taipei Orchestra under the direction of A.

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Literature Review playing techniques and mastering new ones. However, as performers improve their Quite a lot of theoretical research in China is technologies, acquiring new skills, researchers devoted to studying the problems of learning to naturally raise a new question: should new play wind musical instruments. So, Wang techniques be applied in the performance of Duanwei (Wang Duanwei, 1982), Dan Xia (Dan classical works? Xia, 2015), Tang Yang (Tang Yang, 1991) in their works discuss the general problems of the In the second half of the 20th century, a number development of performing arts on wind of methodological works appeared on the study instruments in China. They speak, first of all, of modern clarinet skills: Giuseppe Garbarino about the late distribution of woodwind (Garbarino, 1979), Zhou Tai (Zhou Tai, 1986), instruments of the Western Symphony Orchestra Jin Guangri, Li Changyun and Zheng Hong (Jin in China, as well as the existence of traditional Guangri, Li Changyun and Zheng Hong, 2008); national instruments with different clarinet breathing techniques: Guo (Guo Yu, characteristics of sound, range and 2008) and Li Changyun (Li Changyun, 2006). technical capabilities. At the same time, in the 20th century, lesser popularity of woodwind Many musicians support the idea that new music instruments was noted in China compared to the and methods of performance on woodwind distribution of or , which also musical instruments will be improved and affected the poor development of performing developed. This is due to the fact that the arts. The third important feature noted by all performance of works of modern music has authors is the insufficient qualification of become a prerequisite for participation in major teachers teaching the woodwind instrument. The performing contests. Today, not only successful fourth reason for the current situation in the field musicians, but also students should be able to of musical performance on woodwind musical master non-traditional techniques well, both in instruments is the lack of standardization in solo and orchestral performing practice. An (the lack of uniform analysis of the technical and expressive requirements for the organization of the capabilities of the clarinet in the new conditions educational process, curricula, study repertoire, of development of musical art is an actual technical skills, assessment criteria and much direction of modern scientific developments. more), the group nature of training at the initial This is done so that modern wind instrument stage. Fifth, the “practical” nature of instruction performers can keep up with the development of to the detriment of broadening the musical modern compositional thought, as well as have horizons, mastering historical musical styles and the courage to accept and test new methods of genres, general theoretical knowledge of the performance. Professor P. Volkova regarding the European academic tradition, individual new musical works states “The theoretical performing interpretations of famous world conception uniting them consists in regarding musicians and many other aspects of the musical content as the artistic essence of the development of world musical art. The sixth is , and is focused directly and the lack of an educational repertoire for indirectly in embodying and discovering woodwind instruments, especially with regard to everything it is comprised of. The touchstones of the works of Chinese composers. musical content turn out to be musical sound, the means of musical expressivity, intonation, A number of works of modern researchers are musical imagery, musical dramaturgy, theme and devoted to special problems. Musicians are idea, and “the image of the composer.” The actively exploring the technical and expressive primary “framework” of musical content molded capabilities of the clarinet. These are clarinet by the composer undergoes a creative studies by Colin Rosen (Rosen, 2007), the new transformation in the interpretative activities of clarinet sound by Liu Bo (Liu Bo, 1991) and the performer and the perception of the listener” Bruno Bartolozzi (Bartolozzi,1982), modern (Volkova P., 2019). At the same time, scientists notation for Tong Ting clarinet (Tong Ting, are asking whether all new techniques will be 2004). The above works describe methods of widely disseminated and popularized. This is due teaching new techniques of the game. Ideas are to the fact that the development of the respiratory being developed that modern performing apparatus, the possession of the ear cushion of techniques have made it possible to diversify the each person are different, which affects the performance of the traditional repertoire and technical capabilities of the performance. The introduce new accents and colors into the already correlation of various components that affect the familiar classical works. This, in turn, required quality of the performing arts also needs a the musicians to transform their sustainable separate in-depth study.

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Materials and Methods The leading approach to the study of the development of performance on woodwind The material of the study was leading aesthetic instruments was a comparative analysis between attitudes and methodological principles of Fan the nature of the development of performing art Lay, published in works devoted to his work; on clarinet in China and the countries of Europe interview materials with the and his and America; correlation of teaching traditions, teacher Tao Chunxiao; information presented in requirements for musicians, the structure of the the modern scientific literature of China - educational repertoire and criteria for assessing articles, dissertation research, monographs; performing skills. The close connection between materials about the music of modern Chinese composer and performing art had a significant composers located on video and audio platforms impact on the development of solo concert and other Internet resources. performance and ensemble practice, as well as the entire system of teaching the woodwind Theoretical research methods: instrument. The productivity of the existing phenomenological approach, cultural-historical training system is proved by the participation of method, comparative-typological method and young performers in national and international synthesis of information. The empirical research competitions, which are one of the indicators of method: a holistic analysis method. the musician's professionalization.

Results Discussion

The relevance and feasibility of studying the The formation of woodwind instruments in problem of the development of performing art on China went two ways - thanks to the wind instruments in China is determined by the popularization of the instrument and the presence in the socio-political life of the country involvement of an increasing number of talented of organizations directly related to concert, musicians, as well as through the organization of creative, social and educational activities with training, covering a wider age group. The the participation of wind instruments. These are: development of wind instrument performance in the concert practice of military and symphony China was driven by political processes and, to a , school ensembles and orchestras, as greater extent, falls into the period after the well as the work of conservatories, research reforms and the Cultural Revolution (Koshelev, societies, specialized colleges and art institutes. 1998). The first half of the 20th century in China Active and diverse processes of the development can be arbitrarily called the period of of wind instrument performance in China only at accumulation, during which the intensive the end of the 20th century and the beginning of development of the instruments of the Western the 21st century began to be intensively studied European symphony orchestra took place. The by scientists as a separate phenomenon of the main problems were related to the comparison of country's intellectual, spiritual and creative life. the structure, technical structure and expressive The main trends in the development of clarinet capabilities of Western European woodwind performance in China were formed taking into instruments with Chinese traditional woodwind account historical, ethnocultural factors and folk instruments, such as (transverse ), traditions. Their essence is the initial adaptation (labial organ), (Chinese analogue of of the musical ear and the performing apparatus Pan's flute), (Chinese analogue). The of Chinese musicians to the structural features restructuring of consciousness and musical and sounds of Western European woodwind hearing under the technical and timbre features instruments and, in particular, the clarinet. The of Western European instruments required time next important stage was the development of the and serious efforts of Chinese musicians. West European repertoire and performance techniques. The integration stage became The first prerequisites for the study and use of significant when, on the basis of what was clarinet were due to the socio-political situation perceived, the Chinese style began to take shape, between China and Great Britain in the middle of summarizing the achievements of Western the 19th century. An English officer, Robert European performing and composing art with an Hart, who led the Chinese customs at the sea, was authentic folk creative heritage. The current state a fan of clarinet playing and often held various of the art of performance on woodwind celebrations on duty. He created the first instruments in China can be called a period of Western-style symphony orchestra in China for improvement of traditional and non-traditional them. The members of the first orchestra were techniques of performance. customs officers and young students. Mu Zhiqing is the first Chinese clarinet player to study with a

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musician from this orchestra. He contributed to same number of brass bands were formed that the development and spread of clarinet art in received all kinds of support from state. Playing China. On the one hand, thanks to his outstanding in military orchestras was the foundation for the performing skills, he was able, repeatedly formation of wind instrument classes in major performing in the imperial palace, to demonstrate musical institutions in China, and also this foreign to the highest contributed to the formation of the entire system circles of China, which contributed to its of teaching wind instruments. Every year, many popularization (Handbook, 2008). On the other talented students (including clarinetists) went to hand, in 1922, Mu Zhiqing was invited to teach study at the best conservatories. These students music at Peking University as a clarinet teacher. continued to improve their performance skills, as Bochao, Tang Shuzhen, Xian Xinghai and many well as the theoretical knowledge and techniques others were his students and nurtured the first that they learned while playing in the orchestra, galaxy of talented clarinet performers in China helping them to participate in many national (Zhang Jiafeng, 2012). clarinet competitions (Zhang Jiafeng, 2012; Shuang Zhu, 2017). The current state of the performing arts on woodwind instruments is associated with the However, Tao Chunxiao, one of the most accumulation and expansion of the repertoire, influential clarinet teachers, professor at the which is directly related to the development of Central Music Conservatory (Beijing, China), China's composing art. The formation of a director of the Department of Education and special Chinese style, taking into account the Science of the Ministry of Culture, member of reflection of the uniqueness of the ethnocultural the Committee for Arts Education of the Ministry component and the diversity of folklore sources of Education, president of the clarinet society of of creativity, determines the priorities of certain the Performing Arts Committee of the China genres in music for woodwind instruments in Association music, believes that the formation of China - a concert, variations, arrangements of wind instrument training in China was folk . problematic. After the difficult period of the founding of the People’s Republic of China in The problems of learning to play the clarinet 1949, when the revolution reached its climax and become more obvious when compared with the leading conservatories were closed, it was Western European educational practice, in terms only at the end of the cultural revolution in 1976 of studying the requirements of university that the main musical conservatories gradually programs and the study repertoire, as well as began to open, but musicians did not yet have the criteria for assessing students' performing skills. right to perform composers such as W. Mozart Despite the existing successes, an active study of and C. Debussy. A musician was allowed to play the development processes of performing art only musical compositions with a serious (Aryabkina, 2019) on woodwind instruments in political background. In the 70s, the Chinese China is necessary to create the most favorable government began to actively develop “aesthetic conditions for the formation of world-class education”, which allowed music education to musicians. develop more intensively (Shuang Zhu, 2017).

The development of performing art on wind Firstly, the manufacture of woodwind instruments in China in the 20th century instruments of the European type was established in China. The very first clarinet was made in A special role in the development of performing China in 1952. This instrument was copied by the art on wind instruments in China in the 20th Musical Instruments Yue Trading House from a century was played by the practice of forming sample Selmer clarinet provided by the customer. military bands. The Orchestra of the People's The following clarinet brands gradually began to Liberation Army of China was created in 1947, it be established in the country: Xinhai, Patrick, has been located in Beijing since 1952. It consists Dadaliao, Lucas, Handel. Realistically assessing of symphony and brass bands. The activities of the quality of wind instruments produced, many the orchestra of the People's Liberation Army of performers argue that despite the fact that the China were of importance in the promotion market is large and there are many brands, and development of performing arts on clarinet production technology in China is woodwind instruments. Since 1978, when China considered relatively backward and mainly relies proclaimed the Reform and Openness policy, a on co-production in collaboration with leading military has become a mandatory part of world brands (Handbook, 2008) . The production life in every school in Beijing, which at that time of own instruments led to a wider distribution had more than 100 schools and, accordingly, the and development of clarinet. Thanks to this, three

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styles have consistently appeared in China: that the first concert for the clarinet “Sounds of traditional, popular and modern academic music. the Pamirs” (1982) by Hu Bijin appeared at that Many outstanding works were created that not time. The musicality and technical complexity of only corresponded to the main characteristics and this work led to great popularity in the concert performance standards of the clarinet playing, repertoire of clarinet performers. but also were mutually combined with traditional Chinese musical culture. In the 80s of the 20th century, modern works for clarinet appeared, created by a new generation of The history of creating clarinet works can be composers such as Chen Qigang, Zhang Chao, divided into three periods: the period of research Kang Zhuqing, Guo Ming, He Xuntian and (from the 1950s to the end of the 1960s), the others. The “Morning ” (for clarinet and period of stagnation (from the 1970s to the piano), written in 1980 by Chen Qigang, marked 1980s) and the period of development and the beginning of modern Chinese clarinet music, prosperity (from the 1980s to the beginning 21st and is also the first modern clarinet piece to be century). In the first period, such composers as written in China, reflecting the country's national Xin Huguang, Wang Yan used the national songs style. Since this work was created during the of China as a material for creativity. They tried training of the composer, many researchers to combine the composing techniques of the consider its style to be immature. Chen Qigang's Western European academic school with original other work, “I,” is for clarinet and string quartet. Chinese melodies. During this period, the first It is the first result of research by modern of Chinese authors were created. Western techniques by the composer. This work Zhang Wu, a former clarinet professor at the won first place at the 2nd French international Central Music Conservatory, wrote an original clarinet competition. This is the first clarinet clarinet piece, Variations in Northern Jiangsu, work in our country to receive an international incorporating national musical elements. Then award. The French Dream Dream symphony, came the song “Song of the Grazing Horses” by created by Chen Qigang in 2005, was written for Chinese composer Wang Miao, which is still a soprano, clarinet and orchestra. The premiere classic in the history of clarinet music in China caused a sensation at the annual forum of the (Tao Chunxiao, 2019). Combining Eastern and European Symphony Orchestra and received Western traditions, Chinese composers created high reviews and ratings. music for the clarinet with a special Chinese style. These include arrangements created by The end of the 20th century was marked by the professional composers of popular Chinese tunes emergence of the first research organization “Lyric” (Yang Shuzheng), “Autumn Harvest” related to the study of musical performing arts - (Nu Wanli), “Ballad of Low Shui” (Hu Jumei), the Beijing Clarinet Research Society (founded “Cowgirl Girl” (Li Guoquan), “Stream Tangshui on November 1, 1984 and is a member of the ”(Huang Peiqin),“ Rondo”,“Songs of the Performing Arts Committee of the Chinese Steppes”,“Mongolian Song of Love”(Xin Musicians Association). Its members are Huguan),“Joyful Dances of the I People”,“The professional clarinetists from various music Red Sun in Kama”,“Widespread Jubilation in the groups and educational institutions in Beijing Highlands”,“Song freed from the oppression of (Handbook, 2008). the peasants”(Xing Xuezhi),“Village Songs for the Party”,“Coast in Zhuyli”(Xiang Zhenlong). Due to the active work of conservatories, many talented performers have appeared in China. For From the 1970s to the 1980s, during the Cultural the growth of performing skills, professionalism Revolution, not only were less musical pieces and healthy competition, festivals and written for clarinet compared to the previous competitions of performing arts began to be held. period, but their plot and content were relatively The very first competition, the Beijing Youth limited. Only a few works, such as Dance of the Clarinet Competition in China, took place in Soldier Girls, Dance from the Dawley, 1985. The winner was Tao Guangxu. The logical Liberation, and many other solo pieces for result of competitions for musicians was the clarinet, were arranged by Zhen Lun based on entry of Chinese musicians into the international The Red Women Squad. In addition, there is also arena. In 1988, the 19-year-old He Yi took third “We will keep in our hearts the love of Chairman place at the international competition for the Mao forever and ever”, Wang Zhijian, young clarinet association, held in Richmond, “Dazzlingly Red Blooming Lilies” by Yan USA. The next step was the holding of the Tianyi, “Happy Female Soldier Woman” National Competition of Young Clarinetists in (anonymous), etc. Tao Zhongxiao noted in an 1994 by the Xi'an Conservatory of Music. All interview with Shuang Zhu (Shuang Zhu, 2017) this prepared the holding of the First

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International Clarinet Art Festival in China, of professional performance of chamber music in which took place in Beijing from August 8 to 12, China is an important and integral step in the 1998. 41 world-class performers from 16 development of performing skills in the field of countries were invited to participate. The festival wind music in accordance with international was distinguished by an interesting program and standards (Liu Yang, 2019). an unprecedented scale (Handbook, 2008). He laid the foundation for new contacts and contacts Training in wind musical instruments in that are significant for music, as well as strong China in the 20th century educational cooperation between China and musicians from Europe and America. The situation with vocational training in wind instruments in China, in comparison with Problems of the development of performing learning to play the piano, string instruments or art on wind instruments in China at the vocal performance, was very difficult. There is present stage still a big gap in the field of professional performance on wind instruments between China Fan Lei supports the opinion of Tao Chunxiao, and the countries of Europe and America. his clarinet teacher, that the practice of playing in military brass bands gave aspiring musicians The essence of this gap is largely due to cultural great skills in working in a musical group, and historical facts: the late distribution of wind developing ensemble qualities - a sense of instruments of the Western Symphony Orchestra rhythm, structure, and dramaturgy. According to in China; more popular other Western European the musician, the basis of the development of instruments, such as piano, violin, ; the expressive, virtuoso and constructive qualities of lack of the required number of qualified teachers wind instruments is primarily their orchestral and educational repertoire, taking into account essence. This is precisely the difference between the national specifics of traditional music in the history of brass performance and the history China. All this went against the widespread of bow and piano art. The functions of wind formation of many brass bands and the urgent instruments in the orchestra, their role changed needs of our time. Tao Chunxiao mentions that and grew in close connection with the laws of the her first clarinet teacher was a clarinet player historical development of orchestral styles. Fan from the Chinese National Party . Lei believes that in European and American Fan Lei also received initial clarinet skills from countries, learning to play the wind instrument is musicians Yuan Hunliang and Sun Mingang, more progressive due to the fact that more who worked in the Qingdao Opera and Ballet attention is paid to training the development of Theater Symphony Orchestra. Therefore, the musical hearing, while in China, teachers pay education of teachers with good musical literacy more attention to training the playing technique. and mastery of professional knowledge and In addition, most Chinese students like to play methods of music education has long been the solo and are not at all interested in developing highest priority of China's state policy and ensemble qualities that are being perfected by a remains in music education, including at present duet, trio, quartet. In the countries of Europe and (Liu Yang, 2019). America, they attach great importance to playing the woodwind in chamber-instrumental In China, the main music schools are nine major ensembles. In Europe and America, in addition to music conservatories. The most influential excellent performers and woodwind professors, include the Central Music Conservatory, the there are also a large number of academic Chinese, , Harbin, Zhejiang chamber ensembles, including wind instruments. Conservatoires, as well as the Conservatory of In this regard, China is still not doing as well as the Military Cultural Academy of the National in Japan or South Korea. Fan Lay believes that University of Defense of the People’s Liberation chamber music, literally, in a few decades, will Army of China (former Academy of Arts of the become the main direction of music development People’s Liberation Army of China) and the in the future. This is due to the increasing Nanjing Academy of Arts. These schools acceleration of the rhythm of life, in which it will gradually formed their own clarinet performing become difficult to devote several hours to the school, composed by Professor Wang Duanwei perception of large-scale symphonic canvases. and Professor Gu Peng in Shanghai; Professor Chamber music, on the other hand, can be both Bai Wenshun in northeast China; Professor lengthy or relatively short; it offers examples of Wang Yu in Xi'an and Professor Xing Xuezhi in musical works of completely different styles. (Shuang Zhu, 2017). Chamber music is becoming popular among more and more people. Thus, increasing the level

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Music educational institutions in China include intent, changes in intensity, transformations of special music professional courses organized in the volume force, possession of other means of elementary and secondary schools at specialized musical expressiveness, and improved work art institutes. These schools are designed to train skills in the ensemble. At this time, students musicians to create a reserve number of students master the studies of S.V. Rozanov, A. Stark, G. at conservatories. Klose, A. Gedike; Concerts by V. Mozart, K.M. Weber, F.A. Rossler, A. Rosetti, J. Rossini: Regular high schools offer music courses, but “Rhapsody” by C. Debussy, Sonatas by I. schools are limited by the teaching staff of the Brahms, S. Frank; concerts and plays by Chinese school. Schools with more qualified teachers authors, for example, plays by Kun, Gao Dao, Jin organize ensembles of brass music, string Guangri. ensembles and even orchestras. Classes and rehearsals are held regularly every week, but the Graduate students master the comprehensive time is relatively small: twice a week lasting two possession of clarinet skills, strive for continuous academic hours, for a total of 90 minutes one improvement of expression methods and lesson. In special music schools at conservatories performance techniques, improve their own or specialized art institutes, the specialty repertoire, increase the level of artistic taste and (learning to play the selected musical instrument) orientation to higher goals. The choice of is carried out 8 times a week, each lesson is 45 repertoire is aimed at preparing the final exam minutes. and is associated with the mastery of music of the 20th century: the works of K. Nielsen, F. Pulenk, The preparation of bachelors in universities A. Tomazi, J. Gershwin; “Sounds of the Pamirs” under the program of the course "Playing the by Hu Bijin, compositions for clarinet Zhang Wu, Clarinet", designed for 2 credits (32 hours) per Tao Chunxiao, He Mijia. semester includes the consolidation of professional knowledge acquired in high school; The final exam includes fully played two or more mastering clarinet playing methods; increasing parts from Chinese and foreign musical works the level of musical skill. The educational and the defense of the final qualifying work, repertoire of the first year of study includes the written under the guidance of a specialist teacher obligatory performance of studies by F. Danzi, G. in the field of thesis. Assessment of the Klose; compositions (or parts): “Concertino for effectiveness of the teacher and student takes Clarinet and Orchestra” or “Variations for place in tests and exams. Testing of knowledge Clarinet” by K.M. Weber, “Concert” by D. on tests can be carried out by the teacher Kramer, K. Nielsen, as well as plays by Chinese independently. On the exam, the evaluation of composers Qing Lejun, Zhang Chao and others. performing skills is carried out by a group of The second course of study is aimed at solving teachers, the assessment is based on a hundred- the problems of controlling the muscles of the point system. mouth, maintaining breathing, improving articulation, training the strength and endurance In the first and second year, each student must of the tongue, solving the problems of continuity perform 1-2 parts of a piece of music. In the third of breathing in each register, as well as and fourth courses, each student performs 2-3 improving the abilities and qualities of pieces. coordination of movements of the lips, hands and tongue. The training of these skills occurs The path that education in the field of musical through the development of studies by E. performance in China is currently moving on can Cavallini, J. Jean, K.M. Belleman; concerts K.M. be called reproductive, that is, aimed at Weber, V.A. Mozart, C. Stamitz, F. Hofmeister, reproducing the artistic material that already plays of Chinese composers - Li Changyun, Ni exists. If we compare modern requirements with Yaoichi, Yuan Zhigang. the requirements that were imposed on musicians of the last century in Italy, we can say that the The third year of playing the clarinet at the requirements are aimed at the comprehensive university is aimed at developing students' high development of the instrumentalist's musicality. performing skills, the ability to adapt to new So, Fabrizio Meloni notes that since the mid- conditions, stability and sharpness of mind; 1800s, most conservatories adopted their own gradual training of students in the complete training programs, while they followed the independent performance of musical works and provisions of Royal Decree No. 108 of March 2, the implementation of musical treatments. 1899 for final exams. The final exam included: Students are taught the correct understanding of presentation of a concert piece selected by the the content of a musical work and the composer's candidate; the performance of a work common to

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all graduates selected by the examination Currently, the current evaluation criteria for committee 24 hours before the exam; many musicians are still debatable. According to interpretation of a work of medium complexity the thoughts of Tao Chunxiao and Fan Lei, the appointed by the commission after 3 hours of technical side of the training is very important, study behind closed doors; reading from a sheet because otherwise the musician will not be able and transposing a work into a different key; to convey what is embedded in the music by the discussion on teaching methods, history, composer (Tao Chunxiao, 2002). (. Many technique and construction of the clarinet Chinese clarinet teachers consider improving (Meloni, 2002). The requirements for musicians technology to be an important learning goal; graduating from Italian conservatories at the end therefore, high school students are offered a of the 19th century were related to testing not program of increased technical complexity - the only performing skills, but also general works of K.M. Weber, C. Stamitz, F.A. Rossler - musicality in the performance of a work chosen in order to prepare them for the entrance exam to by the commission; tests of musical thinking, college. However, more and more often, the concentration of attention, memory, as well as practice of national and international reading skills from the sheet and transposition, so clarinet competitions has begun to show that the necessary for playing in the ensemble. A major combination of good technical preparation and advantage was the knowledge of theoretical work musicality - understanding the style and subtle in a special field, as well as the technical structure expression of intonation, helps to achieve the last of the instrument. stages of the competition (Kazantseva, 2016). This combination of performance is important Unfortunately, the requirements of modern for the future (Shuang Zhu, 2017). educational institutions are currently significantly different from the past and not in Conclusions favor of developing a productive, creative thinking of the musician-performer. This trend The development of the performing arts of wind characterizes music education not only in China, musical instruments in China is an integral and but also in many countries of Europe and organic part of world . General and America. particular issues of performing and composing, performing and musical pedagogy began to be In general, the curriculum of Chinese universities actively studied at the end of the 20th and is built on the basis of increasing technical beginning of the 21st centuries. Such are the techniques for the European model of a number works of Tan Chunxiao, the thoughts of Fan Lei, of music universities. Although in some the studies of Wang Duanwei, Dan Xia, Tang European countries, for example, Austria and Yang, Liu Bo, Tong Ting and many others, France, training courses on wind instruments are however, many more problems remain outside based on the style principle. So, at the Academy the field of music science and are waiting for of Music of the University of Vienna and the their reflection. Paris Conservatory, classical works are mastered in the first and second courses. Students start The picture of the development of clarinet art in playing third-year romantics; students perform the 20th century needs to be reconstructed in the modern works in the fourth year. The list of context of socio-political events in the history of performers on the world stage from among the China and understood in three constants as graduates from these two conservatories is quite periods of accumulation, assimilation of Western impressive (Tang Yang, 1991). European musical experience and progress based on the national Chinese style in music. Without Returning to the analysis of the requirements of diminishing the merits of Western European the system of higher musical education in China, influences, it is worth noting our own path of it should be noted that certain assessment criteria development of performing arts in China, in a have been developed at universities: the synthesis with composer creativity and the performance technique is evaluated up to 40 accumulation of pedagogical experience. points, rhythmicity - up to 20 points, artistic expression - up to 15 points, style complexity of We note that there are many already resolved a musical work - up to 15 points and approach to problems in the studied works, such as the wide learning - up to 10 points. When assigning points, involvement of the young generation in the each teacher must take into account the points development of wind instruments; creation of a received by students during the main course. three-stage system of education: school - college - university; the creation of training programs, requirements and assessment criteria at each

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level of musical education; expanding the Koshelev, I.V. Orzhekhovsky, V.I. Sinica. clarinet’s educational and concert repertoire with Moscow: People’s newspaper. 366 p. works by Chinese composers incorporating Liu, Bo. (1991). Compiled the new sound of national ethnographic elements; the organization clarinet // Journal of Wuhan Conservatory of of a clarinet playing research society and the Music. Issue 1. P. 13-16. holding of national and international performing Li, Changyun (2006). Сlarinet circular breathing competitions in China, contributing to the growth course. Minzu: Central University for of professionalism and high competition among Nationalities Press, 147 p. young musicians. Liu Yang. (2019) Interview with Fan Lay. Recorded: September. References Meloni F. (2002) Il Clarinetto / Zecchini Editore. Milano: Italia. 299 p. Aryabkina, I. (2019). Development of Personal Rosen, С. (2007). Clarinet / Тranslated by Zhang Cultural and Aesthetic Perception by Means of Bin // Рeople's music press. May 2007. Performing Art / I. Aryabkina, A. Spiridonova, Shuang, Zhu (2017). The Role of the Clarinet in O. Kapranova, A. Savaderova, N. Mayorova // China: A Research Paper Presented in Partial Amazonia Investiga. Vol. 8. Núm. 19. Marzo – Fulfillment of the Requirements for the Degree abril. P. 514-520. . Arizona: Arizona State Bartolozzi, B. (1982). New Sounds for University, 2017. 50 р. Woodwind, second edition, translated by Tang, Yang. (1991). Modern flute playing and Reginald Smith Brindle. London and New York: teaching // Studying music and research. No. 1. Oxford University Press. 168 р. С. 28-32. Dan, Xia. (2015). Thoughts and Strategies of Tao, Chunxiao (2002). Clarinet Teaching Talent Training Mode of Music Education Major Method. Beijing: Central Conservatory of Music. in Chinese Normal Universities: A Case Study of 166 р. Art College of Henan University // Cross- Tao, Chunxiao. (2019). URL: https://www.b- Cultural Communication. Vol. 11, No. 1. pp. 1- and-s.com/artist/tao-chunxiao/ 3. Tong, Ting (2004). Тhe course of modern Garbarino, G. (1979). Method for Clarinet. notation. Hunan: Hunan Literature and Art Press, Milan: Boosey. 102 p. March. 124 p. Guangri Jin, Li Changyun and Zheng Hong Volkova P. (2019). Scientific school of L.P. (2008). А course of clarinet double and triple Kazantseva: experience of a decade // Music playing. Beijing: China Youth Press. 98 р. Scholarship. No 4. P. 90-101. Guo, Yu. (2008). Аnalysis of circular breathing Wang, Duanwei. (1982). Experience in learning in clarinet performance // Music life. November. to play the clarinet // Musical art. Beijing: Issue 4. P. 113-116. People. publishing house mehan. industry. No. 4. Handbook of musical instruments (2008). C. 54–58. Beijing: Publishing House. 298 р. Zhang, Jiafeng. (2012). A review of the history Kazantseva L.P. (2016). Melody and intonation of clarinet development in China and reflections // Music Scholarship. No. 1. P. 6-12. on giving it a national character // Xining: Koshelev, V.S. (1998) World History of the New Qunwen Tiandi, 10. Time. XIX - beginning of XX century / V.S. Zhou, Tai. (1986). Мodern clarinet performance skills // Yuefu Xinsheng. December. P. 56-58.

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