Abstract: The subject of the research is the formation of Chinese musical subjectivity in piano art in the context of the interaction between Chinese, Russian, and Soviet musical traditions. The aim of the research is to identify the mechanisms through which external artistic, pedagogical, and institutional models were integrated into the internal development of Chinese musical culture. The research material covers the changing image of China in European and Russian music, the spread of Russian-Soviet song repertoire in China during the 1930s and 1940s, the adoption of the Soviet system of professional music education in the 1950s, as well as a number of representative works of Chinese music. Special attention is given to the transformation of national material in professional piano writing, its connection to historical experience, pedagogical practice, and cultural memory. The research methodology combines historical-cultural, comparative, and interpretive approaches. Hermeneutic analysis of a number of representative works of Chinese music is used to identify ways of transforming national material and forming new cultural meanings. The novelty of the research lies in identifying three interrelated mechanisms for the formation of Chinese musical subjectivity. The institutional-pedagogical mechanism ensured the selection and practical transformation of Soviet educational norms. The intonational-semiotic mechanism manifested itself in the incorporation of folk song and instrumental material into professional piano writing and facilitated the formation of new cultural meanings. The social-memorial mechanism linked musical works with collective historical experience, institutional practice, and performance tradition. The Russian-Soviet musical experience became one of the sources for the development of Chinese professional culture. The adopted pedagogical norms, compositional principles, and genre models acquired new institutional, artistic, and memorial functions, contributing to the establishment of Chinese piano art as an independent professional tradition and a form of historical self-expression. The results obtained clarify the role of Russian-Soviet musical experience in the development of Chinese piano art and are applicable to research on Russian-Chinese musical ties, the processes of adopting professional models, and the mechanisms of preserving historical memory in music.

Keywords: Chinese piano art, musical subjectivity, Russian and Soviet musical experience, Russian-Chinese musical interaction, cultural transfer, Soviet piano pedagogy, professional music education, intonational-semiotic mechanism, pentatonicism, cultural memory

Abstract: The subject of the article is choral music by contemporary Chinese composers in the context of the phenomenon of mass culture. The purpose of the article is to study the genre of choral miniature in China from the perspective of mass culture. In China, mass culture is interpreted as closely related to the people and conducive to the flourishing of society. Its distinctive features include: orientation towards the masses, the presence of national elements, the quality of inclusivity, and adherence to socialist principles. These characteristics are also typical of choral art, which has always had a mass character in China. Currently, both amateur and professional choral ensembles in China are active, for which local composers write miniatures. A unique cultural phenomenon is the choral creativity of Jin Chengzhi, performed by the Shanghai Chamber Choir "Rainbow." The methodology includes the works of philosopher H. Ortega y Gasset, studies of mass culture by European scholars M. L. Gasparov, A. S. Ivanenkova, A. Ya. Fler, and the Chinese scholar Chen Xuguang. In the field of choral art, research by Xu Yanping, Zhao Wanyue, and N. A. Govar has been referenced. The main conclusions of the research interpret mass culture in China in a positive light: it differs from European views, understanding mass culture as directed towards society to elevate the overall level of the population's development and uplift. The inclusion of modern choral miniatures by Chinese composers in the context of mass culture is possible due to the historical interpretation of choral performance in the country as a mass phenomenon. The analysis of the activities and choral works of Jin Chengzhi, particularly his miniature "I Feel Empty," illustrates the integration of this genre into mass culture. The choral texture of this composition is quite complex, rich with modern performance techniques, intricate rhythms, aimed at coloristic effects. The popularization of Jin Chengzhi's work is facilitated by the Shanghai Choir "Rainbow."

Keywords: popular culture, Chinese music, choral miniature, Jin Chengzhi, Shanghai Choir, choir, texture, performance techniques, national music, contemporary music