Research Of Music Composition Of Piano Accompaniment In Chinese Folk Dance Teaching And Learning

It is widely acknowledged that Chinese folk dance is one of the greatest quintessence of China, having a long history, obtaining brilliant achievements, and enjoying great popularity among Chinese people. Short history as piano, the King of Musical Instruments in western countries, has since it is introduced to China in the early 1900s, it has been warmly welcomed, rapidly promoted and widely used on account of the loud and clear sounds it produces, a broad range of sounds it has and many other good features it possesses. Catering for the practical demand of Chinese folk dance teaching and learning, the major of Chinese folk dance piano accompaniment comes into being as the product of the combination of Chinese folk dance and the piano under the background of frequent musical and cultural communication between China and western countries. And as a fledging cross-discipline major, the music accompaniment of Chinese folk dance involves careers of both Chinese folk dance and piano playing. Rooted in the piano performance, it also provides services for the teaching and learning as well as stage performance of Chinese folk dance. Moreover, the accompanists are required not only to have a solid foundation of piano playing and profound knowledge of music theories, but also to be familiar with such relevant knowledge,practical and theoretical,as movements, theories and characteristics of folk dances. The great significance it has of its emergence and development lies in the fact that it actually fills a gap in terms of piano accompaniment in China and it is really worth in-depth study and further exploration.The structure of the essay is listed as follows. First of all, this paper summarizes the current development of the piano accompaniment of Chinese folk dance and makes a detailed account of the characteristics, roles and requirements for the accompanist. Secondly, illustrated with examples of Tibetan and Mongolian accompaniment music, it puts forward the general serving rule of the piano accompaniment music of Chinese folk dance, that is, such essential and key components of accompaniment music as style, melody, rhythm and structure should be in conformity with dance teaching and training to a high degree. And hence, it propounds the specific principles and methods of choosing and configuring Chinese folk dance accompaniment music, which include the mastery of a large number of traditional folk music, the familiarity with the latest trend of contemporary national folk music (including the mastery of modern musical language, the reflection of the spirit of the new era, etc), as well as the selection of the ethnic and typical rhythms and the high integration of music language and dance styles. At the same time, inspired by the work of choosing and configuring the accompaniment music, we discover such problems as the insufficiency of accompaniment music and the deficiency of standardization and systematization, and then we endeavor to make recommendations and suggestions to solve the above mentioned problems. And finally, the paper draws a conclusion.In short, based on the teaching practice of Chinese folk dance piano accompaniment, and illustrated with examples of Tibetan and Mongolian folk music, this essay aims not only at providing high-quality accompaniment music, the examples and reference for the choosing and configuring of accompaniment music, but at discovering the difficulties and key points found during this course, as well as at exploring and confirming the principles and methods of choosing and configuring accompaniment music for Chinese folk dance, and finally it attempts to provide a useful reference for similar jobs.