Гуманитарные ведомости. Выпуск 4(32). Т. 2. 2019 г

Гуманитарные ведомости ТГПУ им. Л. Н. Толстого № 4 (32), том 2, декабрь 2019 г. 6 границы, современные музыкальные практики, конкурсные, концертные площадки, традиция и новаторство, синтез, конструктивно-критический анализ. Duin Belgorod State Institute of Arts and Culture (Belgorod, Russia) G. N. Kalinina Belgorod State Institute of Arts and Culture (Belgorod, Russia) BACH’S MUSIC CONCEPTUALIZATION IN THE INTERPRETING OF THE CHINESE ARTISTS (PHILOSOPHICAL AND CRITICAL REFLECTION) This article attempts to philosophically conceptualize Bach's musical heritage in the interpretation of contemporary Chinese performers, revealing the interpretive specifics of "Chinese performance" within the framework of the constructive and critical analysis. The point is that, since the current global trends of globalization, strengthening integration processes make significant adjustments to the phenomenon of musical performance and the personality of the performer, as long as they motivate we wonder about the reasonable (or unreasonable) limits of bringing modern information and mass media technologies into the music culture, forming a fairly new trend of "musical technology," often at the expense of semantic interpretation of a piece of music. The situation is fully projected on the Chinese model of performing culture in its today's "Europeanized" version, raising at least two problematic questions. First, how much are the aspirations of Chinese musicians-performers (the idea of a world career, "formula of success" etc.) with the national ethical paradigm and the spirit of the Confucian tradition? The second one is devoted to the specifics of the interpretation of I. S. Bach’s music in the context of modern Chinese performance and the representation of Bach's classical repertoire on the basis of the performing Chinese tradition. To a significant extent, the relevance of the work is due to the traditional specificity of Chinese culture, forms and examples of its reproduction in the past and present, actually national style features and musical concept images. On the one hand, they are an indicator of their own path, which has sought to follow the "Empire of the Celestial Empire" throughout history. On the other hand, they demonstrate a radical mismatch between the mental foundations of the spiritual cultures of the Asian and European types. Of course, all this affects the sphere of Chinese performance, the processes of mastering the world experience of classical music, including the Bach’s heritage. Keywords: world integration processes, model of Chinese performing culture, phenomenon of Chinese performance, interpretation, Bach’s musical heritage, "piano boom", "Chinese piano dream", "music technologizing” processes, musical concept-images, boundaries, modern music practices, competitive concert venues, tradition and innovation, synthesis, constructive and critical analysis. DOI 10.22405/2304-4772-2019-2-4-5-12 Если мы зададимся вопросом относительно ведущих причин, сделавших композиторское имя Иоганна Себастьяна Баха одним из известнейших в мировой музыкальной культуре, то наш ответ может быть следующим: это синтез традиций и новаторства характерный для его виртуозного творчества, и ставший «визитной карточкой» композитора. Причем, он проявил себя как новатор в такой степени, что можно с полным основанием утверждать: новизна как неоспоримая черта его творчества Примечательно, что, прежде всего, произведения для клавира, отличающихся не просто масштабностью и