Polyphonic Thinking:Theory And Practice——a Study On Chinese Contemporary Polyphonic Music Theories And Composition

This thesis focuses on the major researches about polyphonic music theories and forms published in the recent three decades, and the polyphonic thinking reflected in the creation practices of Chinese contemporary music. It aims at an objective, all-round summary and categorization of relevant research papers published since China’s reform and opening up. From the perspective of music writing practices, it demonstrates how polyphonic thoughts have, during the development of Chinese contemporary music, facilitated innovations and breakthroughs in composition skills.The thesis consists of five parts:Introduction, Chapter1, Chapter2, Chapter3and Conclusion.The Introduction gives a general over-view of polyphonic thinking pattern shifts in music writings of different historical periods, as well as a literature review about polyphonic thinking and its manifestations.The body of the paper is composed of Chapter1, Chapter2and Chapter3. Chapter1summarizes the roles of polyphonic thinking in the history of Western modern music, which may be used for reference by relevant studies and practices in China. Chapter2categorizes and sums up the major research publications about polyphonic thinking and its manifestations. Chapter3makes a systematic and profound study and analysis of polyphonic thinking manifestations in contemporary Chinese music and the characteristics of polyphone skills, hoping to identify the academic significance of polyphonic music theories and polyphonic thinking as well as their directive functions in music writing practices. The chapter touches on the issue by dividing it into two phases:1980s-1990s and the21st century.Finally, based on a review of the facilitating roles of polyphonic thinking in Western modern music, a summary of major researches on polyphonic thinking and its manifestations in the recent30years as well as a study of substantial Chinese contemporary music pieces, the paper concludes that polyphonic thinking, with its diversified manifestations, has played a significant role in the creation process of Chinese contemporary music. It is hoped that the research question may attract attention of experts and scholars in the field and joint efforts may be made in this respect so as to promote the sound development of Chinese contemporary music creations and theoretical studies.