ADAPTATION OF FOLK MELODIES AS A METHOD OF WORKING WITH THEMATIC MATERIAL IN THE PIANO CONCERTOS OF GUO ZUJUN

The article is devoted to the study of one of the key methods in the work of the outstanding Chinese composer Guo Zujun -the adaptation of folk melodies as the basis for shaping the nationally coloured thematic material of his piano concertos.The aim of the study is to identify the specific principles and techniques by which the composer creatively reworks folkloric material while avoiding direct quotation.The research is based on historical-cultural and musical-analytical methods, which makes it possible not only to contextualise Guo Zujun's creative explorations within the task of building a national school of composition, but also to analyse concrete musical texts.The central thesis is the assertion of a profound connection between the composer's unique style and the musical culture of his native Fujian province, above all its local operatic tradition and folk song culture.The author examines in detail how the scores of the piano concertos embody characteristic intonationalrhythmic "matrices", modal features and melismatics of Fujian opera (the "yangpaxia" and "jianghu" chants), as well as the melodic models of western and northern Hakka mountain songs and the songs of Quanzhou.Using specific examples, the article demonstrates a method of working with primary sources based on isolating the structural tones of folk melodies and constructing on their basis an original authorial thematic complex that preserves a recognisable national colouring.It is concluded that it is precisely this analytical and creatively transformative approach to folklore that constitutes the essence of Guo Zujun's innovation.This method allows him to fill the Western European genre form of the piano concerto with genuinely Chinese melodic substance, creating an original and convincing national model of the genre that has had a significant impact on the further development of Chinese art music.