The Research Of The Harmony Technique In Prokofiev's Piano Sonatas

The thesis is about Sergey Sergeyevich Prokofiev's(1891—1953)harmony techniques of nine piano sonatas. It stands out the combination in successions and innovations and goes deep into various harmony techniques show in the piano sonatas. The aim of the study is to offer reference for musical compositions so that traditional theories about harmony can be enriched and developed.The works of Prokofiev belong to musical compositions of 20th century, which is characterized by uncertainty resulting from variety in aesthetic interests, individual character, creating ideas of different composers. The thesis intends to find out, by virtue of focusing on specific characters of Prokofiev's compositions, how he reforms and develops classical as well as romantic harmonic language, finally forming his own musical style. The introducing part explains the significance of purpose of choosing the subject and introduces briefly the composition characteristics and harmonic styles of Prokofiev's piano sonatas. The main part is composed of four chapters: 1.the introduction of harmony techniques of Prokofiev'piano sonatas. 2.The heredity of classical music.3.The innovation of heredity. 4.The summary of harmonic techniques of Prokofiev's piano sonatas featuring the Toccatas, Lyrics and Scherzo.Chapter One concerns the compositions of Prokofiev's piano sonatas, their harmonic styles and techniques as well. A brief introduction of Prokofiev's composing stages, harmonic styles and techniques indicates his indicates his individuality in harmony.Chapter Two tells about the heredity of classical music. Prokofiev's great achievements in musical compositions lie in the fact that he takes deep root in European classical music. He carries on the functions, materials, modes and tonalities of classical harmony and integrates his individuality into musical compositions.Chapter Three is the most important part of thesis. The writer studies harmonic techniques of Prokofiev's piano sonatas from six aspects. First, simple third chord. Second, complexity of chord structures. The means of complicating harmonic materials ranging from complicated third chord to complicated seventh chord gives us an insight into Prokofiev's harmonic techniques. Third, the extension of ideas about mode and tonality. A brief description of departure and transition of minor second, or so called agreement on minor second, is made here and which is peculiar to Prokofiev's compositions. These handlings are both novel and accessible to the audience. Fourth, harmonic means of compound structures. Fifth, horizontal chords. Sixth, sustaining chords.