ON THE SPECIFICS OF THE CONCEPT OF “CHINESE PIANO SCHOOL”

The article is devoted to one of the most important phenomena of Chinese musical culture — the formation of the Chinese performing and pedagogical piano school in the projection of cultural dialogue. The study of this phenomenon requires a historical and theoretical underintercultural dialogue. The purpose of the study is to provide a musicological understanding of the essence of the concept of “Chinese piano school”. The object of the research is Chinese piano art. The subject of the research is the process of formation of the Chinese piano school in the context of cultural dialogue. The concept of the “piano performing school” in Chinese musical culture and its specificity, which was the result of cultural and artistic exchanges between Chinese and Western pianists, the study of the achievements of Western European piano schools and active interaction with them, will be examined for the first time in musicology. The author identifies and systematises three components of the concept of “Chinese piano school” (as a direction in the national musical art; as a creative team; as a methodological system), and also outlines the most significant achievements in the pedagogical and methodological training of professional performers. The results of the study can be used in teaching courses on the history of piano performance and methods of teaching piano playing.