Musicology Annotation << Back The Category of Nationalism in Chinese Music by Examples of Piano Concertos: the Modal Aspect Wang Jiaxin Piano concertos occupy an important place in the works of many outstanding Chinese composers, including Tszian Vene, In Chentszun, Liu Dunnan, Khuan Anlun, Du Minsin, Chen Tsigan, Tan Dun, Van Silin, Chu Vankhua, who have the most famous examples of the genre (including those not previously covered in the Russian literature). The national specificity they embody is the object of this study. It is often referred to as the “Chinese style” (in the appearance of which A.N. Cherepnin played a decisive role). Its various interpretations cover many aspects: from content to musical idioms. Of particular interest is the modal organization of the concerto themes. The peculiarities of the realization of the traditional modal system yun-gun-diao, which was used by all composers mentioned above, are the subject of the study. The aim of the research is to reveal the regularities in the way of using the types of modal structures (penta-, hexa- and heptatonic) and their synthesis with the means of Western musical language. The article reveals the differences in the use of yun-gun-diao elements before 1980 and after this conventional frontier, which serves as one of the significant signs of the two-phase development of this genre in China. Keywords: piano concerto, "Chinese style", nationalism, national style, yun-gun-diao, Chinese traditional modal system, pentatonic, periodization, Chinese music, music of the 20th and 21st centuries. DOI: 10.25791/musicology.7.2023.1328 Pp. 32-39.