| Sang Tong is a famous music theorist,composer and educator.He played an important role in the nationalization of Chinese piano music.With his rich theoretical knowledge and bold practice,he pushed forward the nationalization of piano music.He created a large number of Chinese music works in his life,including chamber music works,violin works,piano works,vocal works and so on.At the same time,he also studied music creation and theory,and published a large number of papers on harmony theory.It has made important contributions to Chinese music culture and the development of music education.After the Cultural Revolution ended in 1976,Chinese piano music entered a new stage of development.There have emerged a large number of works with Chinese music style,among which Sang Tong’s "Nine Piano Songs on the Theme of Folk Songs" is one of them.This work is a continuation of the folk song adaptation techniques explored by Sang Tong and is representative of the later works.This paper starts with a brief introduction of Mr.Sang Tong’s life and has a general understanding of Mr.Sang Tong and the background of his works.Then the structure characteristics and playing difficulties of each ditty in the suite "Nine Piano ditty on the Theme of Folk Songs" are analyzed in detail.Finally,the author discusses the imitation of folk songs in this work,the free change of time,the unique expression of breath and other aspects based on his own performance experience and related theories,and explores the unique characteristics of local folk songs in this work.Finally,the author has a systematic and logical thinking about the transformation of regional thinking in the performance,starting from the two specific playing methods of touch key and pedal.This paper aims to provide help for the creation and research of Chinese piano rearrangement and better performance of works of different regional music styles through the study of this work,which has certain theoretical and practical significance. |