Study On Liszt’s Piano Work “Années De Pèlerinage ” From The Theoretical View Of Chinese “Void And Actuality”

Established on the Marxist materialist dialectics,this paper applies the theory of "void and actuality" in China to reveal the phenomenon of "void and actuality" behind the form and content of Années de pèlerinage---an exemplary piano repertoire composed by prominent western romantic virtuoso Liszt.Moreover,this paper also develops a panoramic analysis on the various "void and actuality" aspects---such as the micro and macro,and relative and absolute aspects---in the work Années de pèlerinage,which is theoretically and practically significant for promoting Chinese characteristics in western music research.Chapter Ⅰ---an overview of the music title’s "void and actuality".This chapter expounds the implicit attribute of "void and actuality" as well as its emotional form layout,and puts forward the balance of "void and actuality" between Liszt’s "poetic philosophy" in music content and fictional creation of form.Chapter Ⅱ---the correlation of "void and actuality" between the theme and sound effect.This chapter clarifies the concrete "definite" sense of the theme and sound effect as well as the abstract "virtual" connotation,proposes the concept of music’s ability to convey referential meaning,and presents the absolute meaning of the two ends of the "actuality" and "void",thus demonstrating the corresponding relationship of "void and actuality" between figurative and abstract theme and its thematic emotion.Chapter Ⅲ---techniques of "void and actuality" in the thematic statement.This chapter explicates the causes of "void and actuality" from the thematic statement as well as the combination of "void and actuality" in the technique statement,and sets forth the expanded contents of the various technique adopted by Liszt’ according to musical narrative characteristics in three main links: the "actual quotation" of the leading theme,the "virtual expansion" of different sub-theme,and the "actual response" of the theme.Chapter Ⅳ ---the coexistence of "void and actuality" in the form elements.This chapter analyzes the opposition of "void and actuality" in the beat and the rhythm,the equivalent significance of "void and actuality" in harmony function,and the intergeneration of "void and actuality" in the texture form;and proposes the concept that different emphasis of these formal elements on the dependence relationship of "void andactuality" is part of the "poetic philosophy" Liszt seeks through different technical characteristics and breakthrough in his music creation.Chapter Ⅴ---the presentation of "void and actuality" in performance expression.This chapter rationalizes the separation and combination of "void and actuality" in sound effects,the tendency of "void and actuality" in sound intensity,and the reflection of "void and actuality" in phonology.It holds that the performance expression is to sound notes in part of "actuality" and pursue significance in part of "void",seeking a balance between honoring the "actuality" and advocating the "void".Epilogue---extended considerations on the listed problems.This chapter concludes that it is possible to retain the three rational cognitions---"harmony with diversity","moderate void and actuality ",and "successful transformation”---without conflicts.This research is an academic practice on western romantic music with efforts to transform "westernization" into "incorporation of western culture into Chinese culture",which is a dynamic and open research model.The purpose of this paper is to not only follow a traditional path of academic research---seeking the expansion of the research space for western music history in China---but also to break through the common practice of theoretical construction that researches the history of western music through western approach.