Stylistic and semiotic analysis of modern Chinese piano performance

1.1 Literature review

In recent years, scholarly research on piano music in China has focused on various aspects of integrating Chinese and Western musical traditions. One such study examines the work of a Canadian composer of Chinese descent, Huang An-lun, emphasizing the synthesis of Chinese and Western musical traditions in his compositions (Zhang 2021). The research includes a biographical overview of Huang An-lun’s life, education, and cultural influences, along with a brief introduction to Chinese musical theories. Special attention is given to his piano works, analyzing the combination of Chinese modality and Western tonality, Western functional harmony and pentatonic harmony, as well as the influence of Chinese folk songs and traditional instruments on his music.

Further research in this direction is presented in an article that analyzes the development of Chinese piano music and its integration with Western musical culture (Li 2021). The author provides a historical overview of the development of piano music in China, beginning with early imitations of Western styles and leading to the creation of a unique Chinese style. The study pays particular attention to the analysis of style, structure, and imitation of the sound of traditional Chinese instruments in piano compositions, as well as the study of folk music transcriptions and original works by Chinese composers.

An important milestone in the development of contemporary Chinese ethnic music is the study of the piano works of Chinese composer Zhang Zhao (Huang et al. 2023). This research examines Zhang Zhao’s piece “Pi Huang” as an example of an innovative approach to integrating traditional ethnic elements into piano music. The study highlights the composer’s creative techniques and aesthetic thinking, evaluating the role of Zhang Zhao’s piano music in preserving and developing Chinese cultural identity.

Another study is devoted to the analysis of the piano compositions of Chinese composer Chu Wanghua, particularly his piano concerto “Yellow River” (Sun 2022). This research reveals the unique combination of Western and Chinese musical elements in the composer’s work, including the imitation of the sound of ethnic instruments on the piano and the synthesis of folk music with contemporary compositional techniques. The study also suggests further exploration of the relationship between Chinese and Western elements in this piece.

In an article exploring the evolution of “Chinese style” piano music over the past century, the authors emphasize the influence of traditional Chinese instruments on the development of this genre (Hou and Isaiah 2021). The research traces the transformation from external imitation of the “form” to a deeper embodiment of the “connotation” of Chinese music in piano compositions, particularly after the 1980s. Another significant study focuses on the development of the piano in contemporary China, highlighting its role in music education, performance, and composition (Wang and Jia 2023). The authors analyze the social, cultural, and educational factors that have influenced the evolution of Chinese piano art in recent decades and offer theoretical recommendations for improving piano teaching and practice in China.

A review of global influences on contemporary Chinese piano art is presented in an article examining the integration of national traditions with the musical experiences of Europe, Canada, America, and Australia (Ye 2018). The authors analyze the works of Chinese composers such as Wang Lisan and Chu Wanghua in the context of their integrative processes and the philosophical-aesthetic foundations of contemporary Chinese piano compositions. Another study focuses on emotional expression in piano performance, emphasizing its significance for creating a comprehensive interpretation of musical works (Wu 2020). The article argues that emotional expression is an essential component of piano performance for achieving effective musical interpretation.

Thus, these studies demonstrate diverse approaches to examining Chinese piano music, ranging from the synthesis of traditional and contemporary techniques to global influences and emotional expression, collectively forming a comprehensive portrait of the development of Chinese piano art. The relevance of our research lies in addressing a gap in existing scholarly work concerning contemporary Chinese piano performance. Previous studies predominantly focus on the historical development of Chinese piano music, the integration of Chinese and Western musical traditions, and the global influences on Chinese piano art. However, insufficient attention has been given to a comprehensive stylistic and semiotic analysis of contemporary Chinese piano performance, particularly in the context of comparing the technical and cultural aspects of performance between Chinese and Western pianists. Our study combines experimental methods of comparative analysis of interpretations, an examination of the semiotic aspects of cultural symbols and signs, and an evaluation of the contribution of Chinese performers to the development of global piano art.

1.2 Problem statement

The dominance of Chinese pianists in international competitions underscores the necessity for scholarly investigation. Cultural synthesis gives rise to novel performance practices. Systematic inquiry enables the identification of translational mechanisms that emerge at the intersection of distinct musical philosophies. Contemporary piano pedagogy increasingly demands empirical evidence to substantiate the effectiveness of intercultural exchange.

The aim of this study is to conduct a comprehensive stylistic and semiotic analysis of contemporary Chinese piano performance to identify its distinctive characteristics, cultural influences, and artistic significance.

The research objectives include:

1. Conducting an experimental study involving Chinese and Western pianists. Performing a comparative analysis of their interpretations, including technical aspects of performance, emotional expressiveness, and culturally specific elements of interpretation.

2. Investigating the semiotic aspects of interpretation by Chinese pianists of both traditional Chinese repertoire and Western classical music. Analyzing how cultural symbols and signs influence musical expressiveness and what new meanings they bring to the performance.

3. Evaluating the contribution of Chinese performers to the development of global piano art and their influence on the formation of new performance trends.

2.1 Study design

The purpose of the experiment was to conduct a comparative analysis of the impact of cross-cultural training on the performance skills of pianists from different musical traditions. Over a period of 10 weeks, Chinese pianists studied Western techniques and approaches to interpretation, while Western pianists studied Chinese musical traditions. The comparison of initial and final performances, along with the analysis of participants’ survey responses, allows for an assessment of the effectiveness of such cross-cultural exchange, identification of potential benefits of integrating different musical traditions into the educational process, and an understanding of how cultural context influences musical interpretation and performance.

The experiment was conducted at the National Centre for the Performing Arts in Beijing, involving experienced pianists aged between 25 and 47. Inclusion criteria comprised: a minimum of 5 years of professional concert activity; verified indicators of cultural identification, as measured by the Cultural Identification Scale – Revised (CIS-R); and repertoire diversity indices (Simpson Index > 0.7), reflecting sustained cross-cultural engagement. The study included an initial performance recording, 8 weeks of master classes and workshops, and a final performance recording. The evaluation was conducted by musicologists using a 10-point scale, which included criteria such as technical proficiency, musicality, interpretation, emotional expressiveness, and stage presence (Appendix A: “Pianist performance evaluation scale”; Table 1).

The stratified sample ensures a representative balance: Chinese pianists (n = 60) are equally distributed across four groups – adherents of the Beijing Conservatory tradition, characterized by technical precision and orthodox interpretation; members of the Shanghai modernist school, known for integrating Western innovations; performers from the diaspora, negotiating hybrid cultural identities; and emerging artists synthesizing postmodern aesthetics. Western participants (n = 60) include representatives of the German-Austrian interpretative tradition (n = 20), the Russian school of virtuosic pedagogy (n = 15), American eclecticism (n = 15), and specialists in Asian repertoire (n = 10).

After the experiment, participants were surveyed using Google Forms, which included closed-ended questions on a Likert scale and three open-ended questions (see Appendix B: “Post-experimental survey”). The structured questions provided quantitative data (via the Likert scale) and qualitative information (through the open-ended questions), enhancing the understanding of participants’ experiences and the research effectiveness. Closed-ended questions focused on assessing the impact of participation in the study on performance skills, comfort during interpretation of works from another cultural tradition, repertoire complexity, the usefulness of master classes and workshops, changes in understanding cultural differences in musical interpretation, improvement in technical proficiency, influence on emotional expressiveness, changes in attitudes towards music from another cultural tradition, progress in understanding culturally-specific elements of interpretation, and satisfaction with the organization of the study. Open-ended questions allowed participants to provide detailed descriptions of the most beneficial aspects of the study, challenges encountered, and recommendations for improving future research efforts.

Experts completed 40-hour training modules encompassing assessment criteria, cultural competence, and calibration procedures. Inter-rater reliability exceeded the accepted threshold (ICC > 0.85), achieved through systematic standardization exercises based on video-recorded performances.

2.2 Statistical analysis

Following tests for normality (Shapiro–Wilk), parametric analyses were conducted using SPSS 28.0. Independent samples t-tests were employed to compare mean scores between pianist groups, with effect sizes calculated using Cohen’s d. Internal consistency of the assessment criteria was evaluated using Cronbach’s alpha (α = 0.87). Inter-rater reliability was assessed through intraclass correlation coefficients (ICC = 0.82). Pearson correlation analysis was used to examine relationships among various dimensions of performance. One-way analysis of variance (ANOVA) was conducted to explore the effect of nationality on individual evaluation criteria. Bonferroni corrections were applied to adjust for multiple comparisons (adjusted α = 0.01). Descriptive statistics were used to summarize central tendencies and dispersion across assessment categories.

2.3 Ethical issues

All data collected during the study were processed and presented as anonymous results. All participants provided voluntary consent to participate in the research and received pertinent information regarding its objectives, methods, and potential risks. Thus, all participants had a clear understanding of the nature and purpose of the study, as well as their rights as participants. They were also informed of their right to withdraw from participation at any time without any negative consequences.

2.4 Research limitations

The study encompassed only a limited sample of pianists aged between 25 and 47 years, which may not fully represent the diversity of interpretative approaches within the broader musical community. An important limitation is also that the influence of participants’ cultural context and prior musical experiences was not fully accounted for, which could have influenced their interpretative decisions and research outcomes.

The representativeness of the sample is constrained by geographical limitations – specifically, the concentration of major conservatories may underrepresent regional performance traditions. These limitations delineate the boundaries of interpretation while simultaneously suggesting avenues for future research aimed at addressing identified gaps through sample expansion, extended observation periods, and refinement of cross-cultural measurement instruments.

3.1 Respondent A

In my opinion, the contribution of Chinese performers to global piano art is extremely significant. Their technical mastery often surpasses that of Western colleagues, especially in virtuosic works. However, I believe that Chinese performers still have room to grow in terms of interpretation and emotional expressiveness. Their interpretations of classical works sometimes appear too literal, lacking depth in understanding cultural context. At the same time, their influence on competition culture is immense – Chinese pianists regularly occupy prize-winning positions in the most prestigious international competitions, prompting all other pianists to elevate their standards.

3.2 Respondent B

On the one hand, they have injected new energy into the world of classical music, attracting a vast audience in Asia. This contributes to the popularization of classical music on a global scale. Moreover, their discipline and diligence set new standards in piano pedagogy. Regarding their influence on repertoire trends, Chinese pianists largely focus on romantic repertoire, paying less attention to contemporary music. This may lead to a certain conservatism in concert programming.

3.3 Respondent B

In terms of technical mastery, Chinese pianists are setting new standards, especially in Liszt’s works and those of other virtuoso composers. Their influence on pedagogy is also significant – many Chinese teachers are currently employed in leading conservatories worldwide, introducing their methodologies. Regarding emotional expressiveness, I see significant progress in the younger generation of Chinese pianists, who demonstrate a deep understanding of Western music.

3.4 Respondent C

I assess the contribution of Chinese performers as revolutionary for world piano art. They not only demonstrate exceptional technical mastery but also bring a fresh perspective to the interpretation of classical works. However, I believe their contribution to the development of contemporary music is currently limited. Most Chinese performers prefer classical and romantic repertoire, experimenting less with avant-garde works. Overall, their influence has led to an elevation in the overall standard of piano performance worldwide.