The Researches Of Luo Zhong-rong's Compositions With Modern Style Of His Latter Period

Luo Zhong-rong, a composer embodied noble character and high prestige in contemporary China, has composed a large number of excellent compositions in different historical periods, especially in the latter part of the period, in which he has gained astonishing artistic achievement on the foundation of his unintermittent efforts in investigation and creation, applying a lot of modern techniques in many of his works through the integration of the key elements of folk music with modern compositional techniques of foreign countries. The object of the research in this dissertation is aimed essentially at the compositions composed in his latter period adopting modern compositional techniques. A comprehensive and thorough analysis is proceeded on the bass of investigation of their pitch organization, formal structure, polyphonic procedures and the characteristic of his orchestration and instrumentation etc., with summing up of his special technique of music idiom and style formed by the imbuing of national specialties with the modern artistries and proceeding more to the consideration on the artistic connotation of his new creations. In Luo Zhong-rong's modern compositions, the pitch organization and the form of it's structure hold the prominent position and issue significant function in music context, and the researches of these aspects in this dissertation occupied referentially also a more wide space. The first three chapters introduced three kinds of pitch organization used in these compositions: serial set, twelve-tone tonality and pentatonic aggregate. The first two kinds were inducted from the referential theories of A.Schoenberg, J.M.Hauer and G.Perle; the third one is invented on the bass of integration of the above-mentioned theories and the practice with the theory of pitch-class set of Allen Forte, in which the Chinese pentatonic characteristics gained mostly its presentation. Innovations in several aspects of his compositions other than the pitch class organization are expounded in chapter fourth. The formal structure of these works are still based on the various principle of traditional music, but even more combined with the parameters other than tonality in the way of their concretive realization, for instance, with the form of the set, motive and texture etc.. In the treatment of linear relationship of these works, the most essential foundation is the polyphonic thinking, that will be discussed more concentratedly on several of their specialties in the dissertation, but in the chapters demonstrating other aspects, the polyphonic innovations will be concerned also in certain depth. Notwithstanding the orchestral works only three in number, but they are all in full display on the characteristics of orchestration and instrumentation involved in these works, that is the emphasize on the special coloring which are invented on the base of combination and adjustment of many unique procedures. In the Concluding Remark, the comprehensive consideration of the artistic innovation and the aesthetic connotation in Luo Zhong-rong's modern music compositions are proceeded separately from two angles: the western Autonomine-aesthetik and the ancient Chinese traditional philosophy, conformingly in full extent with the positive role of his achievements in our modern music creations and with the hope of bring benefit and stimulations to Chinese younger generation, thereby to create more significant modern Chinese music both in quantity and quality.