Research On The Ethical Style And Performing Features Of Wang Jianzhong's Piano Arrangement. Transcription

This thesis makes research on seven pieces of Wang Jianzhong's piano arrangement. Transcription, Liuyang River, Hundreds of Birds Praise the Phoenix, Three Zhe of the Plum Blossom Melody, Colorful Clouds Chasing the Moon, Four Folksongs from Shanbei etc., with special emphasis on how he uses the foreign musical instrument to express the style of Chinese folk music and the national temperament by analyzing his subject matter, contents, musical forms, melodies and harmonies. As far as performing features of his works are concerned, it discusses-from the aspects of color, fingering, rhythm, tempo, pedal etc-the folk music style, the expressive mode of the folk culture as well as a series of resulting performing skills that are so different from the western piano music.Finally, the dissertation summarizes how Wang Jianzhong's piano arrangement. Transcription successfully combines nationalism in music with the piano. It points out that these pieces give inspiration to Chinese piano music composition and it is very important to study and popularize such kind of musical works with vivid folk style.The author does her research by using comparisons and by analyzing literature, history and content of which comparisons are the most widely used method. For example, she makes longitudinal comparisons between ethical folk music and piano arrangement. Transcription, and analyzes Wang's inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.With the research, the author intends to help performers grasp the general features of Wang Jianzhong's piano arrangement. Transcription. At the same time, she offers for reference some of her personal opinions on the ideological ideas and practical experiences of Chinese piano music composition.