Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking

The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.