Analysis Research Of Wang Xinlin's 《the Third Symphony》

Wang Xilin's《The Third Symphony》is indispensable for the composing history of either Chinese new music or Chinese symphony. While there have appeared many pieces of "new music" and symphonies especially "orchestral compositions", Wang's Symphony No. 3, which is likely to be one of the few compositions in the Chinese music history, combines the techniques of "new" music with the strictly defined "symphony" and expresses the composer's emotions and thoughts thoroughly and appropriately.This paper analyzes Wang Xilin's Symphony No. 3 from five aspects. Part one studies the sequence techniques, including the original sequence and its magic cube table, the sequence distribution in each movement and the sequence application techniques in different parts; Part two is a study of chord structure, consisting of fourth-fifth chords that are comprised of tritone, polychords, tall chords, note-cluster chords, as well as whole-tone scale chords; Part three is to analyze the techniques of polyphony, involving the counterpoint of melody and that of rhythm; Part four examines techniques of orchestration, such as those of conventional orchestration and of unconventional orchestration, and the figure of changing track of orchestration acoustics; Part five is a research of musical form structure, including illustrations of musical form structures in all movements, in addition to the effects of timbre, performing methods, dynamics, and density on musical form structural force.Meanwhile, the paper also uses a number of examples, illustrations and the editing technology of computer audio frequency to demonstrate and support its ideas; then summarizes various valuable modern and contemporary composing techniques in this symphony for music researchers and producers to learn from and use for reference, along with unique and new musical elements appeared in it. Through further study and research, the author hopes that these musical elements and other forms of "music cells" can be made into more "permutations and combinations" so that more excellent music works in larger numbers will be created for more music researchers to learn, to study and to use for reference.