The Further Thorough Investigation Of The Traits Of Performing Art In Suona Concerto TianLe Composed By ZhuJian'Er

Modern music was on the rise in the early and middle 1980's, which first emerged in the domain of symphony. When such young musical composers as TanDun, QuXiaoSong,YeXiaoGang wrote many pieces of symphony, they also set foot in the production of the Chinese folk music, triggering great controversy in this regard. It was right the mature and peak age for ZhuJian'Er, the well-known composer of Shanghai Symphony Orchestra, to compose music. In spite of his old age, Zhu was not stereotyped and thought that all forms are bound to be changed. Never ceasing exploring and trying, he has composed with new techniques the music including some folk works such as Butterfly Spring, played with urheen and orchestra (four movements) , HE,with 5 musical instruments: Zheng (a Chinese zither with 25 strings), urheen, DiGeHu, and percussion instrument, SoloYU,played with lute and surnay , TianLe and etc. His orchestra works in recent 10 years can be classified into two categories: one is his retrospection and reflection to the Cultural Revolution in China like Symphony No.1 ,Symphony No.2 (1986, 1988), and Symphony Fantasia; the other is his experience and receptivity to the folk conditions and customs after his living with the local people like Sketches in the Mountains of Guizhou (1982) and A wonder of NaXi (1984) . These types of works are the theme of folk-custom which is filled with clear emotional tonality, rustic local color and poetic and picturesque charm. Zhu did not over-emphasize the drama of these types but was perusing lyric style more accordant to the reality and always introduced folk music collected on the spot by himself into his works directly. At the same time, he integrated these natural musical material with modern music-producing methods and techniques in order to present the natural conditions and customs before the audience in an intuitive way, giving them a lingering aftertaste and making them personally on the scene. TianLe is the work with the combination of folk color and brilliant creative consciousness of this kind.This article comprises five main parts (including preface and epilogue)The preface consists of the research introduction of TianLe, the, reason for the penman to select the theme as while as the meaning of doing so.The cause of production of TianLe is entirely generalized in the first chapter which mainly discusses the contemporary developing status of surnay works, presents the brief personal introduction of the composer, his work TianLe's composing background, and it's meaning and value to come into being. This chapter offers a very good reference for us to understand the modernistic status of the musical instrument surnay and research and study the modernistic surnay works.We can find the application of traditional performing skills and innovative performing skills of surnay in the second chapter. And it also illustrates the method the composer employed to deal with the relation of tone color ,acoustics of surnay and orchestra.The third chapter mainly dissertates about the further significance of musical performing art to modernistic surnay skills. With the inheritance from traditional performing art and the innovation in the modernistic surnay's performing skills, we're able to better understand performance of the modernistic surnay works and continuously obtain the discipline in the performance of modern folk instrument.Epilogue chiefly introduces the initial stages of the preparative work of the thesis, the importance of second-time creation for the performer in the modernistic works, and the real meaning and value brought about by the production of TianLe.