In the history of accordion music in China, the creative legacy of Li Yuqiu (1929–2013) has been a source of ongoing research interest. The authors of this article analyze the suite "Clay Figurines: Impressions," composed in 1984. The main focus of the work is aimed at gaining a deeper understanding of the unique contribution of the Chinese composer to the development of accordion repertoire in the context of his dialogue with the cultural traditions of the West and the East. The authors examine in detail the issue of the interaction between the visual source and its musical interpretation through intonational, sound-imagery, and compositional techniques. The article also addresses aspects such as the suite’s programmatic nature and the specifics of accordion writing. The study is conducted within the context of China's national musical culture, allowing for a deeper understanding of the work's artistic characteristics and significance. The methodological foundation of this study is a comprehensive analysis based on a historical-cultural and musicological approach. The paper employs a method of holistic analysis of the musical piece, which involves examining the cycle of Li Yuqiu in the unity of its content and form. The novelty of the research lies in the fact that this paper presents an analysis of imagery, intonational vocabulary, and style of the suite "Clay Figurines. Impressions" for the first time. A special contribution of the authors to the study of the topic is that the composition is examined in the context of the interconnection between musical art and applied arts. The study revealed that the musical work reflects integrative trends in contemporary Chinese culture. Li Yuqiu masterfully combines the spiritual heritage of his people with European musical tradition in his accordion composition. The authors conclude that the suite seamlessly blends Asian artistic imagery and expressive means with compositional and dramatic techniques borrowed from Western European practice. It has been established that the pieces examined can be used in concert accordion programs, but are particularly attractive as part of the repertoire of children's art schools and art colleges.
Fidenko et al. (Mon,) studied this question.