Music and cultural identity through folk traditions in 20th-century compositions using the examples of Chinese academic music

The present research aims to illuminate the process of composers in the 20th century embodying the fundamentals of folklore from the various regions of China, which is distinguished by its uniqueness and characteristic features over centuries. To achieve this objective, a range of methods was employed, including the analysis of video samples, stylistic and genre characteristics, tonal systems, and rhythmic patterns of the musical works, as well as the comparison of the textural representation of folk samples and academic music, with the synthesis of the individual components of the musical language into a unified system. The conclusions of this research reflect the prospects of interaction between folkloric sources and the composition techniques that emerged in the academic sphere of the 20th century. This is illustrated by the works of composers such as Wang Lisan (“Lan Huahua”), Sang Tong (“Seven Pieces on Themes of Inner Mongolian Folk Songs”), Van Jian-Zhong (“Five Yunnan Folk Songs”), and Zhu Jian-Er (“Five Yunnan Folk Songs”).