Study On The Organizational Form Of Homophonic Piano Music Texture

A piece of music usually goes through three steps—creation of the composers, performance of the artists and evaluation of the audience before its final fate is determined:either to die away or to live on and spread. Sound effect plays an important role in any music work because it is not only the first channel for the audience to touch the music but also the final form of presentation to the audience. At the same time, the music performance that connects music creating and music evaluating, is both a process of reproduction of the original work and a kind of recreation that will provide the work's life with more colors. Therefore, in the course of determining what the music is to express and further arranging the sound material, the composer should, through exploring and observing the audience's aesthetic appreciation law, studying and mastering all the factors relevant to music performance, try his or her best to improve the music form so that the music could be best presented to the audience with such effect as its content and form being perfectly matched. This is where the significance of this paper lies.Through combining the piano's instrumental characteristics and playing fe-atures that constrains the music texture, with the help of the book "Songs and Accompaniment Writing Skills" written by Li Shixiang and the theory on the organization forms of orchestral parts from the book "Musical Forms and Works Analysis" by Mao Yuan and Zhuang Yao who further explains " the organizational forms of music texture" as a theory on " the number of piano music parts, the relationship between different piano parts and the relationship between various factors within each piano music part", this paper is going to make a classification study on piano organizational texture in terms of the m-usic part's number, the music part's vertical relationship, and the music part's horizontal relationship. It will also make a further study on how the texture's organizational form is connected with the actual effect of performances and the content of the music as well.In the homophonic piano music, the number of the texture's music parts directly influences the piano player's command of the tone, dynamics, the whole sound harmony and total balance. When composing a piano piece, the composer should take both the expected sound effect and the actual performance into consideration in order to make a proper arrangement of the texture's part number.Concerning the music part's vertical relationship and horizontal relationship this paper will start with an analysis of the music texture's framework. The music texture's framework, which is summed up by myself from numerous piano homophonic products and based on the principle of the band texture score compression, applies to the study of the texture's frame structure used for arranging the horizontal and vertical organization of homophonic piano textures. In addition, such internal factors of music parts as pitch, timbre, rhythm, meter, dynamics enable us to fractionize all kinds of organizational forms of piano homophonic pieces so as to know definitely the respective characteristics of the music textures of different organizations.The auxiliary functions of the music part's internal factors for the study of music textures will be discussed in every chapter of this paper.