Semenov's Two Free-bass Accordion Sonata

Viacheslav Semynonv, born in Russia in 1946,is an influential accordion composer, performer, educationist and accordion engineer in the world of today. Now he is the dean of the department of keyboard in Gnessin Institute. Accordion is the major carrier of Semyonov's creations which are of different styles and forms. Among these great works, two sonatas which are created for the free base Bayan Accordion are his masterpieces.The present thesis contains three chapters:Chapter One makes a systematic exposition of the characteristics and general trend of the modern music. And then, in this chapter, the value and the significance of the research on the modern accordion works are approached step by step. Chapter Two is the ail-sordidly analysis of Semyonov's accordion sonatas. The profound background of the creations is expounded firstly in the analysis of sonata No.1 Afterwards the structural features of the frontier form of this great creation are discussed in the main part of the analysis.Sonata No. 1 embodies the principle of combining divertimento with integrated in the respect of structure. And then many distinguishing features of the musical language existing in Sonata No.l are analyzed ail-sordidly according to the turn of the movement. These features contain semitone musical language, the melody of religious ode and the creative principles of imitating the ringing sound tastefully and so on. The characteristic musical style of the nation of Basque is emerged in Sonata No. 2 which is also called as "Basqueried sonata" In the respect of the musical form, harmony and polyphony, the words is bent on reform and incorporates thing of diverse nature. At the same time, it carries on the musical style of the nation of Basque. Many modern repeatedly. These methods are harmony which has compound function, parallel harmony. A large number of mode scales which have national characteristics of Basque in Spain are used in the respect of mode. On what has already been achieved, the composer of Semynonv forms his own rhythmical language creatively by adopting assembles beat repeatedly. In this way, the national flavors are emerged strongly. In Chapter Three, in the light of the two sonatas, the present writer discusses an important question, that is, in order to excavate the accordion expressive force. Generality can be found excavate the perform skills. Among these skills, we have the use of skills of bellows, the adoption of switches. The present writer tries hard to find out the generality, and hopes to bring about a great advance in the development of accordion creative practices in our China.