The saxophone in the works of Chinese composers: from academic tradition to cultural integration

Statement of the problem. In recent decades, the saxophone has emerged as a significant instrument within contemporary Chinese music, yet it remains underrepresented in academic research, particularly in Ukrainian musicology. While Western musical traditions have long accepted the saxophone as a classical and jazz instrument, its status in China only began to shift in the late 20th century. Initially perceived as a popular or entertainment instrument due to the influence of artists like Kenny G, the saxophone faced cultural and pedagogical barriers to institutionalization in Chinese conservatories. However, a new generation of composers has redefined the instrument’s role by integrating it into academic, folkloric, and orchestral contexts. This study responds to the lack of scholarly analysis regarding the stylistic, compositional, and performance aspects of saxophone music by Chinese composers. Objectives, methods and novelty of the research. The primary objective of the research is to trace the evolution of saxophone art in Chinese music, from its academic adoption to its integration within traditional and hybridized musical idioms. The purpose of the article is to identify the stages in the development of saxophone art in China based on the modeling of genre-stylistic and performance parameters of landmark works by leading composers. The study focuses on key works by Zou Xiangping, Lei Liang, and Leilei Tian, analyzing their use of the saxophone in relation to Chinese cultural symbolism, extended techniques, and genre transformation. Methodologically, the research applies a multidisciplinary approach that includes historical analysis (development of saxophone tradition in China); genre-stylistic analysis (integration of Western and Chinese musical idioms); interpretative method (performance-specific considerations); structural-functional method (form and dramaturgy); system analysis (conceptual modeling of saxophone as a cultural phenomenon). The novelty of the study lies in identifying and conceptualizing three distinct stages in the development of saxophone music in China: • academic institutionalization, marked by the establishment of professional saxophone education; • stylistic synthesis, combining traditional Chinese elements with Western compositional forms; • cultural integration, where the saxophone becomes fully embedded within the framework of national Chinese orchestras and musical semantics. Research results. The analysis demonstrates that Chinese saxophone repertoire has undergone a substantial transformation. Zou Xiangping’s compositions (“Images of Yalong River”, “Song of Chuanjiang River Boatmen”) illustrate how ethnic and regional materials from Sichuan are reinterpreted using Western harmonic frameworks and extended saxophone techniques. Lei Liang’s “Xiaoxiang” and “Peking Opera Soliloquy” fuse Western concert writing with elements of Peking Opera, including timbral imitation of vocal glissandi and percussive gestures. Leilei Tian’s “Open Secret”, written for soprano saxophone and Chinese orchestra, exemplifies a mature intercultural integration, combining European concerto form with Chinese instrumental color and expressive codes. Each of these works expands the expressive and technical capabilities of the saxophone, challenging performers with demands for microtonality, multiphonics, flutter tongue, and glissandi. The composers’ use of ethnomusicological references, dramaturgical symbolism, and acoustic experimentation reflects a growing trend toward intercultural artistry. Moreover, the rise of specialized saxophone classes and performance schools in Chinese conservatories – initiated by figures like Yusheng Li – has provided institutional support for this artistic evolution. In conclusion, Chinese saxophone music has transitioned from marginality to artistic centrality through a process of creative adaptation and cultural fusion. This shift not only reshapes national music identity but also contributes to global discourses on musical modernity and instrument recontextualization. The study opens new pathways for further research on the role of Western instruments in non Western traditions, particularly in light of postmodern hybridity and performer-driven innovation.