A Study On The Creation Of Pipa Concerto In The 1980s And 1990s

Whether the development of the Chinese Musical Instrument Pipa, or the creationand the development of the Pipa Concerto, to a certain extent, they both can be said tobe the crystallization and achievement of the sino-foreign cultural exchanges andintegration.It is well know that music composition can reflect the time feature of its creation.Therefore, in each era, the music compositions’ creation content and creation waysembodies the unique characteristics respectively to a various degrees. Since the3rdPlenary Session of the11th congress(December1978), China stepped into a new eraaccompanied by the pace of emancipating the mind,reform and opening up. Especially,in the field of literature and art, the creation elements needed by the musical creators arenot limited to the Chinese traditional musical culture materials, but integrate the uniquefeatures of the new time—Western music cultural elements to different degrees.The paper is studied that in such a context, the the music composition of Pipaconcerto how to conduct in the1980s and1990s starting with the two Pipa concerto“The wujiang river hate” and “The qilian fancies”. I consider the Pipa concerto’sontology, its development and variation during the history and the aesthetic changealong with the history development,so that the paper is divided into three parts whichare the music ontology analysis, history study and aesthetic change in order to discussthe musical creation of the Pipa concerto in the1980s and1990s. During the study, themethods that combine the microscopic and macroscopic, the music history and the studyof spectral cases, music history and the music aesthetic are majorly utilized. Meanwhilethe creation features of the Pipa concerto are combed and summarized in a certaindegree.