Dozier Product Style Piano Works Study

Tcherepnin (1899.1.21~1977.9.29), who was born in Russia, is an important American pianist and composer in the 20th century. In the decade of 1930s, he held a series of musical shows in China and made a great contribution to the Chinese musical culture. He is praised as"Commissary of the Chinese Music".There are six chapters in this dissertation:The preface indicates the purpose, significance, current status and materials resource, etc. of this article.The first chapter mainly focuses on the introduction of his lifetime. The reader will have a general acknowledgement on him by the 5 periods of his whole life: Russian (1899-1921); Paris (1921-1925); Traveling around the World (1925-1933); Eastern Asia (1934-1937) and American (1937-1958). Tcherepnin was born in an artist family. Since he was affected by his parents from the childhood, he has a characteristic of high-level cultural internality. He traveled many countries in his entire life; since he was a little boy, he got the idea of composing the musical works for"Connecting Euro and Asia". His works reflect the world's variance as he was deeply affected by the composing skills in the 21st century. He is praised as"The musical citizen of the world".The second chapter based on the Chinese music that Tcherepnin studied. During his three years in China, served as the musical consultant for the government, and the honorary professor in National Music Institute, he held a series of concerts in Shanghai and Beijing as a pianist and composer. His musical internality and creation made a great impact to the Chinese musicians. Not only he encouraged them to compose the Chinese-style works, thus held the competition of"Looking for the piano works with the Chinese style"with his sponsor, and published the cooperative works of Chinese and Japanese composers to the Western world, but also composed the works with the Chinese"language"himself. Even after he left China, he still tried his best to introduce the Chinese music to the West constantly and recommended the Chinese musicians. The third chapter carries out a full-scale and deep analysis on the Chinese style of his works from the music pattern, harmony, melody and the texture aspects. He composed a variance of themes within his 15 Chinese-style works and this article stresses on analyzing his piano works. As one of his works could not be found in domestic, therefore, this article only focuses on his two piano works and . These two works are written for Chinese piano students when Tcherepnin taught in Shanghai National Institute. They are all composed with the five note scale, and reflect a deep Chinese style no matter on the melody in horizontal, or the matrix in vertical, even the texture.In The fourth chapter the readers will be introduced on the historical value and the significance of the two training materials for piano mentioned in the 3rd chapter. This two Chinese-style works which are composed by Tcherepnin trained the students on the piano skills systematically. There are solutions for some technical problems on the five note scale. These skills filled the blank that there were no five note scale etudes in Chinese neoteric history. In the meantime, the composing skills in his works made a great inspiration and affection to Chinese musical composers.The conclusion includes the overall statements for Tcherepnin's Chinese-style and his great contributions to Chinese music.The writer composes this article with both the statement and the comment, in which they rely on each other and help to clarify each other. Staring from the introduction of Tcherepnin's life, with the help of musical, historical, and aesthetic analysis, the writer wrote the words on his impact and contribution to the Chinese culture and make a specific analysis on his Chinese-style works. The writer wishes that there will be more research on Tcherepnin's musical creations.