The "Experimental" Feature In Postmodern Piano Music—The Transformation Of Sound Phenomena

Before the 20th century,in the long and stable Western culture,"hearing" has long been treated as a subordinate concept serving vision,speech and logic.Music has long been regarded as art in the sense of "secondary nature",and was once coerced into the premise of an expressive structure based on tonal logic and the relationship between main and subordinate harmony,resulting in the scope of auditory meaning that can only exist in the unreachable range of the public.in the "Hall of Elegance".Unlike the research on visual culture that is popular in the research of art theory,the postmodern auditory culture or the thinking on the piano sound phenomenon that has not yet started completely has not been paid much attention in the research of musical theory.The crisis of modernity was completely subverted in the mid-20th century,a period often seen as a breakthrough period for postmodernism.If we regard this crisis as a resistance to classical piano music culture,then its emergence is also a breakthrough in piano music.In John Cage’s entire creative career,the experimental music concept revolutionized the instrumental sound material,completely subverting the traditional piano music sound,making the piano return to the instrumental music itself,making it more like a machine.In Cage’s experimental view of "contingency",it may not be for the pleasure of listening to the audience,but just to let the sound get rid of a "delusion",and to remove the piano from the "intention" and "performance"of traditional composers.To be liberated,to be itself,and not to be constrained by human theories and emotions.The experimental and diverse characteristics in the creation of piano music bring all kinds of new acoustic phenomena to the extreme,leading to the possibility that the traditional western piano acoustic system that has prevailed for a long time may reach the brink of disintegration.When the post-modern piano music is played,the "piercing" details of the sound provide a new sound aesthetic experience for the listeners.In the practical field of piano music,influenced by the principle of "uncertainty",the live performance forms have become more abundant and diversified.The purpose of this paper for postmodern piano research is that in the past piano music culture,if there are only laws of elegance and authority,and the discussion of aesthetic issues in classical or traditional piano music works can only be limited to inherent The thinking in the thinking mode will inevitably form a kind of "stagnation"for the development of an instrumental music itself.It is possible that the piano can always go into the future only by relying on what tradition has given.For a long time,in the research on the related issues of postmodern piano music,whether it is writings or reviews,the exploration of in-depth auditory culture or sound aesthetics has not received major attention.Perhaps because of the abstract nature of the problem of sound aesthetics,it must be explained and proved the particularity of its inherent sound phenomenon in an interdisciplinary way.Therefore,it is necessary to present the acoustic phenomenon of the piano through this research path.