Reserch Of Shandong Folk Suit Composed By Cui Shiguang

Cui Shiguang, Pianist and composer,born in Dandong,northeastern China in 1948,entered the Preparatory of the Central Conservatory of Music in Beijing,PRC in 1962;received two Master's degrees in piano and composition from the School of Music,Syracuse University,USA in 1986 and 1987.Cui was appointed piano soloist and composer in residence of the China Philharmonic Society,Beijing in late 1970s to 80s.He has been committed to the creation of Chinese piano works and piano music for the establishment of China have made outstanding contributions to school. He tried to explore the compositional techniques of traditional Chinese and Western classical and modern composition techniques combined nationalization piano music development. He works through the "East-meets-west" "combining ancient and modern" principle, both distinctive ethnic characteristics, but also lack the spirit of advancing with the times, traditional Chinese musical elements with Western techniques of modern music inclusive. Piano works he created not only a rich subject matter, and distinct personality and different styles, with high artistic value and research value.This selected piano works by Chinese composers series, "Cui Shiguang Piano Collection" has a strong regional flavor, "Shandong Folk Suit" (divided into six "Ditty", "Dance", "Autumn Geese", "Humoresque "," Drizzle"," Flower Drum ") as the research object, with four chapters on the work carried out a detailed analysis.The first chapter briefly describes the experience of Mr. Cui Shiguang, and the creation of representative works. Cui Shiguang of the creative process to roughly divided three periods: the late sixties to the seventies, the works of this period is rich in ethnic color, representative works for the "Shandong Folk Suit"; 80 years, this period is mainly used techniques of modern music has created works of American musical styles, such as "PianoFoster"; decade, has returned to the national character of the theme music, the representative of the "Liu Tianhua Impromptus"The third chapter "Shandong Folk Suite" and the link between Qilu culture. From four aspects: the first part of the "Folk in Suite" and the Shandong dialect contact, briefly explain some of the Shandong dialect features in the works to find some imitation of the speech, Shandong dialect specific examples of tone. Shandong folk songs and "Shandong Folk Suit" the link, the composer in his works the use of a unique folk Shandong minor, such as the fourth track, "Humoresque" which will insert the Shandong folk songs to "shocked tone," the musical elements. The third part was the link with Shandong folk instrumental music, the "Shandong Folk Suite" in some of the characteristics of traditional folk music sound and Shandong drums, koto, etc. compare performance. The fourth part was the link with Shandong folk songs and dances, mainly in the sixth song "Flower Drum" as an example.Chapter musical form from the harmony, tuning aspects such as tone, "Shandong Folk Suit" music ontology analysis and six works of each done playing.