Research On Formation And Changes About Composer's Personal Style

'Style'is one of the oldest categories in the art theory, and the issues concerning style are also one of the basic problems of music theory. It not only refers to all the levels of music theory such as musical creation, musical works, performance, acceptance, and criticism, but also covers different historical space and time of musical changes such as traditional, modern and post-modern and so on. Musical style is unavoidable in all the musicology disciplinary. Therefore, for the infrastructure of the music theory, and the disciplinary development of arts, this research would be beneficial. Needless to say, the composer as individual is the carrying of the history of musical style, and also the smaller unit in style system (compared to the era, ethnic, geographic, work). Although the entry point of this paper is small, but it can effectively penetrate and radiate to music theory problems.This article is divided into three parts, each part are three chapters.Part â… :"theory and method".First of all, as to the confusion phenomena of "style", the dessertation proposes a concept of the ambiguity. That is, the confusion in using this terminology is because of the object's uncertainty and ambiguity, only by facing up to its complex ambiguity, we can be freed from the so-called content/form of subjective/objective in the past tradition of thinking, and no longer obtain the essential definition by scientific qualitative and quantitative, or philosophical abstraction.It is generally accepted that style is a symbolic language, which constructed by the human, for perception and understanding of the world.It is a concept and also the existential; both a specific system is also an imaginal vision, and gradually formed in the vast expanse of human practical activities of the specific course. As a sort of style expression system, music also has the symbolic nature of the cultural conventions, with which people communicate, referent, and to require musical practice and aesthetic perception. Music notations mechanism of their own unique way and the function of absorption and showing the survival experience, all which proved the identity of musical style could not be confined to any aesthetic reasoning or the field of musical form of autonomy. Part II:"Experience the world:the composer's self-awareness and identity construction.Around the foundation of existential ontology on the embodiment experience ", reveal the deep meaning of the association of the composer's life and creation, and illustrated an example of Chopin's living and writing in Paris. Its main points are as follows:First of all, the embodiment of experience shows that the breadth and depth of quality and sensibility of the composer's inner life experience, intertwining with the habits of historical experience, and intricately connected with personal life choices.As a result, the fonnation of the composer's personal style and evolution of the interpretation can not put aside the history horizon of the composer's existential ontology, including most aspects of and the atmosphere of the times, the ideological origins, the masters, and personal experiences, music practice, the material level, which not limited to pure music, pure aesthetics, or physiology research areas. Second, the development path of personal artistic style and creative intelligence can not be explained by biology, physics, mechanical time logic, but should referent to the composers personal life history for the meaning of life and proposed four understanding principles of " embodiment experience"(thinking/identity/persona/game),And introduce the "arc of the personal meaning" from Merleau Ponty to explain the time problem of formation and evolution of style.The part III:the world of expression:traditional and personal.Here the dialectical relationship between musical tradition and individual creativity is the starting point, by discussing the conventional connotation of the "style consciousness; the nature of musical expression; personal poetics strategy, demonstrating music skills in which contains the rich and deep intellectual thinking, ingenuity, wisdom, diligence. Proposed:1)"style consciousness" and its essence is the composer's traditional "sense of history, it depends on learning:2) if an expression really accesses the " style ", the personal subjectivity is not an indulgence, but a prudent insight accessing to the works of the nature directly, for it linked with various dimensions such as sensory experience, emotional awareness, scene awareness, image construction, Genres selection, Rhetorical methods, etc., and thus has a very rich and subtle, intricate level of significance which couldn't be reduced into a kind of given rational technical concept or chart analysis.3) Any one has a true-self born in language activities or unique individual rhetoric, and who must walk a long, arduous process. As a result, the formation of the composer's personal style, proved human successfully manage to sound rules, and make medium of expression a self-idea, showing the perfection of the mind and intellect has reached.4) Every composers, in developing their own personal style, will inevitably seek the association with their own expression and the musical examples of the past, and between the composer self-expression and traditions, there is a'permanent dialectics'.5) Aesthetic criticism, should first complete analysis of the composers'creative ideas, correspondingly. Some specific examples in this part include:the image of 'bird':Messiaen's world of metaphor and 'sense of style'; repeated practices 'time metaphor'";" Lyotard's 'noble':Chopin " Prelude in A minor'" and impossible objects'".Conclusion.After review and summarize the general view of this dissertation, explicitly presents the idea: the limits of the style "intervention", as well as of the role of philosophy in music research, identity.